different lens essay

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Writing advice from the harvard college writing center tutors, the four parts of a lens essay argument.

by Emily Hogin

One of the most common prompts I see at the Writing Center is the “lens essay.” A lens essay brings two texts in dialogue with one another in a very particular way. It asks you to use Text B – the lens – to illuminate something you didn’t already know about Text A.

How Not to Argue a Lens Essay

A lens essay is not a list of differences and similarities between two texts. The following are some (exaggerated) examples of a bad argument for a lens essay I’ve come across at the Writing Center:

Even though one is philosophy and the other is a novel, both Text A and Text B talk about the imagination.

This first thesis statement notes a similarity between the two texts that will likely be obvious to readers of the text. It doesn’t use one text to illuminate anything about the other.

While both Text A and Text B argue that human nature is unchangeable, Text A asserts that humans are inherently good and Text B asserts that humans are inherently bad.

This thesis makes a claim about each text but doesn’t say anything about them in relation to each other.

Text A, a poem, does a better job of communicating the emotional struggles of living with HIV than Text B, a statistical report, because a poem allows readers to identify emotionally with other people while statistics are more abstract and cold.

This third thesis statement does make an argument that connects both texts, but again fails to use one text to tell us something we don’t already know about the other text.

In my experience, a successful lens essay implies a certain kind of thought-process that has at least four parts:

(1) I read Text A

(2) I read Text B (my lens)

(3) I re-read Text A and noticed something I didn’t notice before

(4) That something turns out to carry consequences for my overall reading of Text A (thesis/argument)

(And if you really want to wow your reader, you’d add a final part:)

(5) Applying Text B (my lens) in this way also reveals something significant about Text B

When I say significance or consequences, I don’t mean that it has to alter the meaning of a text radically; it can be something small but important. For example, you might find that one element is a lot more important (or a lot less important) to the overall text than you had previously thought.

As an example, here is an excerpt from the introduction to my last lens essay:

The concept of the imagination is ambiguous throughout Venus in Furs : at times, the imagination appears as passive as a battleground that external forces fight to occupy and control; at other times, the imagination appears to drive the action as if it is another character. Any theory of sexuality that seeks to explain Venus in Furs thus must be able to explain the ambiguity over the imagination. Foucault’s theory of the inescapable knowledge-power of sexuality comes close to being able to explain Sacher-Masoch’s ambiguous concept of the imagination, but applying Foucault in this way highlights Foucault’s own difficulty situating the imagination within his theory.

You can see my lens essay thought-process in just these three sentences:

(1) I read Venus in Furs (Text A) and noticed that the imagination is ambiguous

(2) I read Foucault (Text B, my lens) (3) to better understand the imagination in Venus in Furs

(4) Foucault helped explain why an ambiguous imagination is an appropriate way to look at sexuality

but (5) applying Foucault to the imagination tells me that Foucault’s own theory is challenged when he has to account for the imagination.

Once you have an argument for a lens essay, you will have to structure your paper in a way that allows this lens essay thought-process to come across. This means that each of your topic sentences should refer back to this thought-process. Even if you need a paragraph that discusses one of the texts primarily, your topic sentence should justify why you’re doing that. Your complicated and interesting thesis will likely require you to move back and forth between Text A and Text B (your lens).

Of course, your argument will depend on your assignment, but I’ve found this four-part approach successful in a number of courses where the assignment asked me to bring two texts in dialogue with one another.

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How to Write a Critical Lens Essay Successfully Step by Step

Critical lens essay writing is a type of literary analysis where the writer is required to analyze and interpret a specific piece of literature or a quote. The essay typically involves discussing the meaning of the quote and how it relates to two literary works. The author is expected to use literary elements and techniques to support their interpretation and provide evidence from the texts.

The term "critical lense" refers to the perspective or lenses through which the scribe views and analyzes the literature. It often involves exploring the cultural, historical, or philosophical context of the works being analyzed. The goal is to demonstrate a deep understanding of the literature and present a well-argued interpretation.

In this guide, we’ll explore such crucial aspects of how to write critical lens essay, its definition, format, and samples. Just in case you’re in a big hurry, here’s a link to our essay writer service that can help you cope with a task at hand quickly and effortlessly.  

What Is a Critical Lens Essay and How to Write It

A critical lens analysis is a form of literary exploration that challenges students to interpret and analyze a specific quote, known as the "lens," and apply it to two pieces of literature. This type of composition aims to assess a student's understanding of literary elements, themes, and the broader implications of the chosen quote. Effectively producing a research paper involves several key steps, each contributing to a comprehensive and insightful analysis. 

The critical lens meaning is to provide a unique perspective into the complexities of literature. It goes beyond mere summarization, urging students to explore the layers of meaning embedded within the chosen quote and its application to literary works. Unveiling the assignment's meaning requires a keen eye for nuance and an appreciation for the intricate dance between language and interpretation.

Knowing how to write a lens essay involves mastering the art of interpretation. As students embark on this literary journey, the process of achieving this task becomes integral. It demands an exploration of the chosen quote's implications, an in-depth analysis of its resonance with the selected literature, and a thoughtful synthesis of ideas. A step-by-step approach is crucial, from deciphering the meaning to meticulously weaving insights into a cohesive and compelling narrative.

A lens analysis is more than a scholarly exercise; it's a nuanced exploration of the intersections between literature and life. It prompts students to unravel the layers of meaning embedded within the viewpoint, dissecting its implications for characters, themes, and overarching narratives. This analytical journey not only refines academic skills but also cultivates a deeper appreciation for the profound impact literature can have on our understanding of the human experience.

Step-by-Step Writing Guide

In this guide, we will explore the assignment’s prerequisites and outline five steps to help students understand how to write a critical lens essay.

STEP 1 - Understand the Critical Lens Quote

The journey of crafting a compelling draft begins with a deep understanding of the chosen quote or viewpoint. This quote typically embodies a philosophical or thematic idea that serves as a foundation for analyzing the selected literary works. Students should dissect the quote, exploring its nuances, underlying meanings, and potential applications to literature.

STEP 2 - Select Appropriate Literary Works

Once the sources are comprehended, the next step is to select two literary works that can be effectively analyzed through this framework. Choosing appropriate texts is crucial, as they should offer rich content and thematic depth, allowing for a comprehensive exploration. Students must consider how the texts align with and diverge from the central ideas presented in the quote.

STEP 3 - Interpret the Chosen Texts

With the literary works in hand, students embark on a close reading and analysis of the selected texts. This involves identifying key themes, characters, literary devices, and narrative elements within each work. The goal is to understand how each text relates to the material and to uncover the deeper meanings encapsulated in the literature.

STEP 4 - Write a Thesis Statement for Your Critical Lens Essay

The thesis statement is the compass guiding the entire document. It should succinctly capture the composer’s interpretation of the original source and how it applies to the chosen texts. A well-crafted thesis statement not only outlines the focus of the essay but also provides a roadmap for the subsequent analysis, showcasing the author’s unique perspective.

STEP 5 - Structure the Essay Effectively

The final step involves organizing the tract into a coherent and persuasive structure. A well-structured article typically includes an introduction, body paragraphs, and a conclusion. In the introduction, students present their interpretation, introduce the chosen texts, and offer a clear thesis statement. Body paragraphs delve into specific aspects of lenses and their application to each text, supported by relevant evidence and analysis. The conclusion synthesizes the key findings, reinforces the thesis, and leaves a lasting impression on the reader.

A successful article requires a meticulous approach to interpreting the quote, selecting appropriate literary works, closely analyzing the texts, crafting a robust thesis statement, and structuring the document effectively. By following these five key steps, students can develop a well-rounded and insightful article that not only demonstrates their understanding of literature but also showcases their ability to apply analytical thinking skills to literary analysis. Should you find the process challenging, simply contact us and say, ‘ Write an essay for me ,’ so we can find you a perfect writer for the job.

Critical Lens Essay Outline

Creating a comprehensive lens essay outline is an essential preparatory step that helps students organize their thoughts and ensures a well-structured effort. Below is a suggested outline, dividing the task into logical sections:

Introduction:

• Hook: Begin with a captivating hook or quote to engage the reader.
• Quote: Introduce the chosen quote, providing context and potential interpretations.
• Interpretation: Offer your initial interpretation and its implications.
• Thesis Statement: Clearly state your thesis, outlining how the document applies to the chosen literary works.

Body Paragraphs:

Paragraph 1: First Literary Work

• Brief Overview: Provide a concise summary of the first literary work.
• Connection to Critical Lens: Analyze how it applies to this text.
• Evidence: Incorporate relevant quotes or examples from the text to support your analysis.
• Interpretation: Discuss the deeper meanings revealed through the analysis.

Paragraph 2: Second Literary Work

• Brief Overview: Summarize the second literary work.
• Connection to Critical Lens: Examine how it is reflected in this text.
• Evidence: Include specific quotes or instances from the text to bolster your analysis.
• Interpretation: Explore the profound implications illuminated by the material.

Paragraph 3: Comparative Analysis

• Common Themes: Identify shared themes or patterns between the two works.
• Differences: Highlight key differences and divergent interpretations.
• Unity: Emphasize how both work collectively to reinforce the analysis.
• Counterargument.

Conclusion:

• Recapitulation: Summarize the main points discussed in the body paragraphs.
• Thesis Restatement: Reiterate your thesis in a compelling manner.
• Concluding Thoughts: Offer final reflections on the broader implications of your analysis.

By adhering to this outline, students can systematically approach their essays, ensuring a coherent and well-supported exploration of the chosen perspective and literary works. The outline serves as a roadmap, guiding the author through each essential element and facilitating a more organized and impactful final product. You will also benefit from learning how to write a character analysis essay because this guide also offers a lot of useful tips.

Introduction

The introduction plays a pivotal role in capturing the reader's attention and establishing the foundation for the ensuing analysis. Begin with a compelling hook or a thought-provoking quote that relates to the chosen perspective. Following the hook, introduce the quote itself, providing the necessary context and initial interpretations. This is also the space to present the thesis statement, succinctly outlining how the outlook applies to the literary works under examination. The thesis should offer a roadmap for the reader, indicating the key themes or ideas that will be explored in the body paragraphs.

The main body paragraphs constitute the heart of the article, where the essayist delves into a detailed analysis of the chosen literary works through the framework provided. Each body paragraph should focus on a specific literary work, providing a brief overview, connecting it to the perspective, presenting evidence from the text, and offering interpretations. Use clear topic sentences to guide the reader through each paragraph's main idea. Strive for a balance between summarizing the text and analyzing how it aligns with the outlook. If applicable, include a comparative analysis paragraph that explores common themes or differences between the two works. This section requires a careful integration of textual evidence and insightful commentary. Keep in mind that learning the ins and outs of a literary analysis essay might also help you improve your overall written skills, so check it out, too!

The conclusion serves as a synthesis of the analysis, offering a concise recapitulation of the main points explored in the body paragraphs. Begin by summarizing the key findings and interpretations, reinforcing how each literary work aligns with the work’s angle. Restate the thesis in a conclusive manner, emphasizing the overarching themes that have emerged from the analysis. Beyond a mere recap, the conclusion should provide broader insights into the implications of the outlook, encouraging readers to contemplate the universal truths or societal reflections brought to light. A strong conclusion leaves a lasting impression, prompting reflection on the interconnectedness of literature and the perspectives that illuminate its depth.

Critical Lens Essay Example

Final Remark 

Through the exploration of literary works, students not only refine their understanding of diverse perspectives but also develop essential analytical thinking skills. The ability to decipher, analyze, and articulate the underlying themes and conflicts within literature positions students as adept communicators and thinkers.

Armed with the skills cultivated in dissecting and interpreting texts, students gain a formidable ally in the pursuit of effective communication. By committing to harnessing the insights gained through this assignment, students empower themselves to produce richer, more nuanced pieces. 

How to Write a Thesis Statement for Your Critical Lens Essay?

How does using a critical lens essay help writers, what are the best critical lens essay examples.

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Writing a “Lens” Essay

This handout provides suggestions for writing papers or responses that ask you to analyze a text through the lens of a critical or theoretical secondary source.

Generally, the lens should reveal something about the original or “target” text that may not be otherwise apparent. Alternatively, your analysis may call the validity of the arguments of the lens piece into question, extend the arguments of the lens text, or provoke some other reevaluation of the two texts. Either way, you will be generating a critical “dialogue between texts.”

Reading the Texts

Since you will eventually want to hone in on points of commonality and discord between the two texts, the order and manner in which you read them is crucial.

First, read the lens text to identify the author’s core arguments and vocabulary. Since theoretical or critical texts tend to be dense and complex, it may be helpful to develop an outline of the author’s primary points. According the to Brandeis Writing Program Handbook, a valuable lens essay will “grapple with central ideas” of the lens text, rather than dealing with isolated quotes that may or may not be indicative of the author’s argument as a whole. As such, it’s important to make sure you truly understand and can articulate the author’s main points before proceeding to the target text.

Next, quickly read the target text to develop a general idea of its content. Then, ask yourself: Where do I see general points of agreement or disagreement between the two texts? Which of the lens text’s main arguments could be applied to the target text? It may be easier to focus on one or two of the lens text’s central arguments. 

With these ideas in mind, go back and read the target text carefully, through the theoretical lens, asking yourself the following questions: What are the main components of the lens text and what are their complementary parts in the target text? How can I apply the lens author’s theoretical vocabulary or logic to instances in the target text? Are there instances where the lens text’s arguments don’t or can’t apply? Why is this? It is helpful to keep a careful, written record of page numbers, quotes, and your thoughts and reactions as you read.

Since this type of paper deals with a complex synthesis of multiple sources, it is especially important to have a clear plan of action before you begin writing. It may help to group quotes or events by subject matter, by theme, or by whether they support, contradict, or otherwise modify the arguments in the lens text. Hopefully, common themes, ideas, and arguments will begin to emerge and you can start drafting!

Writing the Introduction and Thesis

As your paper concerns the complex interactions between multiple texts, it is important to explain what you will be doing the introduction. Make sure to clearly introduce the lens text and its specific arguments you will be employing or evaluating. Then introduce the target text and its specific themes or events you will be addressing in your analysis. 

These introductions of texts and themes should lead into some kind of thesis statement. Though there are no set guidelines or conventions for what this thesis should look like, make sure it states the points of interaction you will be discussing, and explains what your critical or theoretical analysis of the target text reveals about the texts.

Writing the Body

The body is where you apply specific arguments from the lens text to specific quotes or instances in the target text. In each case, make sure to discuss what the lens text reveals about the target text (or vice versa). Use the lens text’s vocabulary and logical framework to examine the target text, but make sure to be clear about where ideas in the paper are coming from (the lens text, the target text, your own interpretation etc.) so the reader doesn’t become confused.

By engaging in this type of analysis, you are “entering an academic conversation” and inserting your own ideas. As this is certainly easier said than done, Gerald Graff and Cathy Birkenstein’s concept of “Templates” may prove useful. In their book, They Say, I Say, the authors lay out numerous templates to help writers engage in unfamiliar forms of critical academic discourse. They encourage students to use the templates in any capacity they find useful, be it filling them in verbatim, modifying and extending them, or using them as an analytical entry point, then discarding them completely.

Here I modify their basic template (They say ________. I say ________.), to create lens essay-specific templates to help you get started:

The author of the lens text lays out a helpful framework for understanding instances of ________ in the target text. Indeed, in the target text, one sees ________, which could be considered an example of ________ by the lens author’s definition. Therefore, we see a point of commonality concerning ________. This similarity reveals ________.

According to the lens text _______ tends to occur in situations where _______. By the lens author’s definition, ________ in the target text could be considered an instance of _______. However, this parallel is imperfect because _______. As such, we become aware of ________.

One sees ________ in the target text, which calls the lens author’s argument that ________ into question because ________.

If the author of the lens text is correct that ________, one would expect to see ________ in the target text. However, ________ actually takes place, revealing a critical point of disagreement. This discord suggests that ________. This issue is important because ________.

Wrapping Things up and Drawing Conclusions

By this point in your essay, you should be drawing conclusions regarding what your lens analysis reveals about the texts in questions, or the broader issues the texts address. Make sure to explain why these discoveries are important for the discipline in which you are writing. In other words, what was the point of carrying out your analysis in the first place? Happy lens writing!

Brandeis UWS Writing Handbook, 70.

UWS Handbook, 76.

Birkenstein, Cathy and Gerald Graff, They Say, I Say. (New York: W. W. Norton & Company, 2007), 2-3.

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Tag Archives: lens essay

“the death of ivan ilych: a psychological study on death and dying” as a lens essay.

The lens essay is a commonly-assigned paper, particularly in Writing Seminars. The prompt for such a paper often asks students to “critique and refine” an argument, to use a source as a lens through which to view another source and in the process gain a better understanding of both sources. This type of essay can be hard to explain and difficult to understand, so it is one of the most common types of essays we see in the Writing Center.

Recently, I read Y.J. Dayananda’s paper “ The Death of Ivan Ilych : A Psychological Study On Death and Dying ” which uses the lens technique. In this paper, Dayananda examines Tolstoy’s famous short story The Death of Ivan Ilych through the lens of Dr. E. K. Ross’s psychological studies of dying, particularly her five-stage theory. Dayananda’s paper features strong source use, shows how structure can be informed by those sources, and serves as a model for an effective and cross-disciplinary lens essay.

Dayananda establishes the paper’s argument clearly at the end of the introduction, setting up the paper’s thesis in light of this lens technique and providing the rationale (part of the motive) behind applying Ross’s study to Tolstoy’s story:

I intend to draw upon the material presented in Dr. Ross’s On Death and Dying and try to show how Tolstoy’s Ivan Ilych in The Death of Ivan Ilych goes through the same five stages. Psychiatry offers one way to a better illumination of literature. Dr. Ross’s discoveries in her consulting room corroborate Tolstoy’s literary insights into the experience of dying. They give us the same picture of man’s terrors of the flesh, despair, loneliness, and depression at the approach of death. The understanding of one will be illuminated by the understanding of the other. The two books, On Death and Dying and The Death of Ivan Ilych , the one with its systematically accumulated certified knowledge, and disciplined and scientific descriptions, and the other with its richly textured commentary, and superbly concrete and realistic perceptions, bring death out of the darkness and remove it from the list of taboo topics. Death, our affluent societies newest forbidden topic, is not regarded as “obscene” but discussed openly and without the euphemisms of the funeral industry.

Dayananda then organizes the paper in order of the five stages of Dr. Ross’s theory: denial, loneliness, anger, bargaining, depression, and acceptance. This gives the paper a clear structure and places the texts into conversation with each other on an organizational level. As the reader moves through each stage, Dayananda combines quotations from Dr. Ross’s study and evidence from The Death of Ivan Ilych to show how Ivan Ilych experiences that stage.

Dayananda’s interdisciplinary close-reading of Tolstoy’s text through the lens of Dr. Ross’s study allows us to better understand what Ivan is experiencing as we learn the psychology behind it. As Dayananda writes, “psychoanalysis offers a rich, dynamic approach to some aspects of literature.” The only way Dayananda’s paper could have been strengthened is if the essay also argued explicitly how reading the literature critiques or refines the psychological text, as the best lens essays run both ways. However, overall, Dayananda sets up and executes an original and effective lens reading of The Death of Ivan Ilych.

–Paige Allen ’21

Dayananda, Y. J. “ The Death of Ivan Ilych: A Psychological Study On Death and Dying .” Tolstoy’s Short Fiction: Revised Translations, Backgrounds and Sources, Criticism , by Lev Nikolaevich Tolstoi and Michael R. Katz, Norton, 1991, pp. 423–434.

The Shade of the Body: Notions of Materiality in Rauschenberg’s Dante Series

In a Tortoiseshell: In the paper excerpted below, the author builds a graduated version of the lens thesis: She analyzes Robert Rauschenberg’s 34 Drawings for Dante’s Inferno in the context of Dante’s Inferno itself, using close reading as well as scholarly texts to make a subtle argument about both texts.

Continue reading →

The “Immense Edifice”: Memory, Rapture, and the Intertemporal Self in Swann’s Way

In a Tortoiseshell: This excerpt from Andrew Mullen’s essay “The ‘Immense Edifice”:  Memory, Rapture, and the Intertemporal Self in Swann’s Way ” concerns the analysis of Marcel Proust’s “ Swann’s Way ” through the lens of Claudia Brodsky’s essay on narration and memory. Andrew’s essay is a prime example of the lens essay –an essay that is structured around the analysis of a source text using a theoretical framework provided by another. Continue reading →

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What Is A Lens In Writing? (The Ultimate Guide)

Ever feel like your writing is stuck in a one-dimensional rut? Then you need to use a lens.

What is a lens in writing?

A lens in writing is a tool that shifts your perspective, like looking through a kaleidoscope. Writing lenses include historical, psychological, and critical. Use a writing lens to analyze, interpret, and craft richer, more engaging writing.

Buckle up, language enthusiast, because this ultimate guide dives deep into the fascinating world of writing lenses.

What Is a Lens in Writing? (10 Types)

Table of Contents

Think of a lens as a specific viewpoint or approach you adopt while writing.

It guides how you dissect information, select arguments, and craft your message.

Whether you analyze literature, dissect historical events, or craft marketing copy, lenses offer unique filters through which you process and present your ideas.

To simplify your journey, I’ve compiled a handy chart outlining 10 popular lenses:

Go ahead, bookmark this chart! It’s your cheat sheet to unlocking a universe of creative perspectives.

Now, let’s explore each lens, equipping you to wield them like a writing ninja.

Through the Lens of Time: The Historical Lens

What it is: The historical lens transports you to the past, examining your topic within the context of its era. This involves considering the social, political, and cultural factors that shaped events and influenced individuals.

How to use it: Research the historical context: dig into primary sources like documents, letters, and diaries. Analyze social norms, political structures, and major events of the time period. Consider how these factors influenced your topic and how your understanding might differ from a modern perspective.

Example: Analyzing a Shakespearean play through the historical lens involves understanding Elizabethan social hierarchy, religious beliefs, and theatrical conventions. This helps you interpret character motivations, plot developments, and the play’s overall message within its historical context.

Unveiling the Mind: The Psychological Lens

What it is: The psychological lens delves into the inner workings of the human mind, exploring characters’ motivations, behaviors, and mental states. It draws on psychological theories to analyze their actions, reactions, and thought processes.

How to use it: Identify key characters and their actions. Apply relevant psychological theories, such as Freudian psychoanalysis or cognitive-behavioral therapy, to explain their motivations. Analyze how their experiences and environment shape their behavior and mental state.

Example: Examining Hamlet’s indecisiveness and introspection through a psychological lens could involve applying Freudian concepts like the Oedipus complex and existential anxieties. This deepens your understanding of his character and the play’s exploration of human nature.

Decoding Social Structures: The Sociological Lens

What it is: The sociological lens focuses on the interactions, norms, and power dynamics within communities and societies. It examines how individuals and groups relate to each other, considering factors like social class, race, gender, and cultural values.

How to use it: Identify the social context of your topic: analyze social structures, power dynamics, and potential conflicts within the group or society. Consider how these factors influence individual experiences and group behaviors. Apply sociological theories like conflict theory or symbolic interactionism to explain observations.

Example: Analyzing a social media trend through the sociological lens might involve examining how it reflects broader cultural values, power dynamics between different groups, and the role of technology in shaping social interactions.

Weighing Wallets and Resources: The Economic Lens

What it is: The economic lens analyzes the financial aspects of a topic, focusing on production, consumption, and distribution of resources. It considers factors like market forces, economic policies, and social inequalities.

How to use it: Identify the economic context: analyze relevant economic concepts like supply and demand, resource allocation, and market structures. Explore how economic factors influence your topic and the individuals involved. Consider potential economic consequences of different actions or policies.

Example: Evaluating the impact of climate change through the economic lens might involve analyzing its effects on different industries, economic losses due to extreme weather events, and potential costs of implementing mitigation strategies.

Unveiling Power Plays: The Political Lens

What it is: The political lens examines the dynamics of power, governance, and influence within a political system. It analyzes how decisions are made, power is distributed, and individuals or groups compete for influence.

How to use it: Identify the political context: understand the structure of government, key political actors, and prevailing ideologies. Analyze how political dynamics influence your topic and the individuals involved. Consider potential political implications of different actions or policies.

Example: Examining a protest movement through the political lens might involve analyzing its demands in relation to existing power structures, the influence of political parties, and potential responses from the government.

Beyond Biology: The Gender Lens

What it is: The gender lens analyzes how gender identities, roles, and expectations shape experiences and social structures. It examines how individuals and groups are affected by societal norms and power dynamics related to gender.

How to use it: Identify the gender context: analyze dominant societal expectations for different genders, consider power dynamics and potential inequalities. Explore how gender roles and identities influence your topic and the individuals involved.

Example: Analyzing a novel through the gender lens might involve examining how female characters challenge or conform to societal expectations, exploring the portrayal of masculinity, and questioning power dynamics between genders.

Understanding Shared Values: The Cultural Lens

What it is: The cultural lens delves into the shared beliefs, values, and practices of a particular group or society. It examines how cultural norms, traditions, and customs shape experiences and behaviors.

How to use it: Identify the cultural context: research the specific belief systems, traditions, and values relevant to your topic and target audience. Analyze how cultural factors influence the perception and interpretation of your topic.

Example: Comparing advertising strategies across different cultures through the cultural lens might involve examining how humor, color symbolism, and family dynamics differ and how these differences impact marketing effectiveness.

The Power of Words: The Rhetorical Lens

What it is: The rhetorical lens analyzes how language is used to persuade, inform, or entertain. It examines the speaker’s purpose, strategies, and techniques to achieve their desired effect on the audience.

How to use it: Identify the speaker’s purpose and target audience. Analyze the language used, considering elements like tone, imagery, and emotional appeals. Evaluate the effectiveness of the speaker’s strategies in achieving their desired response.

Example: Analyzing a political speech through the rhetorical lens might involve examining how the speaker uses persuasive techniques like repetition, emotional appeals, and logical arguments to influence the audience’s opinion.

Preserving Our Planet: The Environmental Lens

What it is: The environmental lens considers the impact of human actions on the natural world. It examines issues like sustainability, resource management, and ecological consequences of human activities.

How to use it: Identify the environmental context: analyze the ecological impact of your topic and consider relevant environmental issues. Explore potential solutions and sustainable practices related to your topic.

Example: Evaluating the social impact of a new technology through the environmental lens might involve considering its energy consumption, potential pollution, and impact on biodiversity and resource depletion.

Shaping the Future: The Technological Lens

What it is: The technological lens examines the role of technology in society, focusing on its development, impact, and ethical implications. It analyzes how technology shapes our lives and raises important questions about its future evolution.

How to use it: Identify the technological context: understand the specific technology and its development stage. Analyze the social, economic, and ethical implications of its use. Consider potential future scenarios and responsible tech development practices.

Example: Discussing the potential benefits and risks of artificial intelligence through the technological lens might involve analyzing its impact on jobs, automation, and potential biases, highlighting the need for ethical considerations in its development and deployment.

Remember, these are just a few of the many writing lenses available. With practice and exploration, you can unlock a world of creative possibilities, enriching your writing and engaging your audience with diverse perspectives.

What Is a Critical Lens in Writing?

A critical lens is, in essence, a specific perspective or approach you adopt to critically examine a topic or text.

It acts as a filter, guiding how you analyze information, evaluate arguments, and ultimately shape your understanding.

Unlike mere summaries or descriptions, critical lenses encourage in-depth questioning, pushing you beyond surface-level observations to unearth deeper meanings and underlying assumptions.

Think of it this way: Imagine examining a painting through a magnifying glass.

While you could simply describe the colors and shapes, the magnifying glass allows you to closely scrutinize brushstrokes, textures, and hidden details, revealing the artist’s technique and message in a nuanced way.

Similarly, critical lenses empower you to zoom in on information, dissecting its layers and uncovering its deeper significance.

But remember, critical lenses are not about imposing a singular “correct” interpretation.

Watch this video about writing a critical lens essay:

Final Thoughts: What Is a Lens in Writing?

Don’t be afraid to experiment, break the mold, and see the world through a new lens. Write on!

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• What Is A Universal Statement In Writing? (Explained)
• What Is Writing Style? (Easy Guide for Beginners)
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How to Write a Lens Essay

Sophie levant, 25 jun 2018.

Look closely at literature, and you may see a new world below the surface. In high school or college, a teacher may ask you to do this by writing a lens essay. A lens essay is a type of comparative paper that analyzes one text through the viewpoints expressed in another. Composing an effective one is difficult even for the most seasoned of writers. However, it is an incredible intellectual exercise through which you will not only improve your writing skills but your critical reading and thinking skills as well.

Explore this article

• Read the Lens Text
• Read the Focus Text
• Take a Closer Look
• Construct Your Thesis
• Compose the Body of Your Essay
• Sum Up Your Ideas
• Revise and Edit

things needed

• Your two texts
• Pen and paper

1 Read the Lens Text

Begin by reading the text you plan to use as your viewpoint. Take note of strong opinions, assumptions and justifications. Clear, concise notes about this section will help when using this text as a lens and when writing your final essay, so make sure your notes are accurate.

2 Read the Focus Text

Read the second work once, making note of its important details. Look back at your notes from the lens text, and read the focus text again with the lens text in mind. Use active reading skills such as writing questions in the margins and determining the purpose of each paragraph.

3 Take a Closer Look

Here are a few questions to consider when analyzing the content of your focus text: How does the lens text serve to shed light on the second text? Does it criticize it or support it? If the two pieces were written during different periods in history, consider the era in which the lens was written and how it affects the opinions or points made in the second. Consider the lives of the authors and how their differences might inform their writing.

4 Construct Your Thesis

With your notes in hand, construct your thesis statement. Using details from the both texts as context clues, determine how the author of the lens text would view the assertions of the focal text. Construct this view as a statement that includes the details expounded upon in the body paragraphs of your essay. At the same time, keep your thesis statement as clear and simple as you can. Your thesis statement is the roadmap to the rest of your paper. Its clarity and concision will help your reader understand what to expect.

5 Compose the Body of Your Essay

Write the body. A lens essay is typically constructed on a text-by-text basis. Concentrate on presenting the lens in the first paragraphs. In the following, present the second text as viewed through the lens. How do your points support the thesis? Make sure to include evidence for your assertions.

6 Sum Up Your Ideas

Write the conclusion. Restate your thesis first, then sum up the main points of your paper. Be sure to make what you have said meaningful. Don't let the paper fizzle out, but don't introduce new information either.

7 Revise and Edit

Read over your work at least once, first paying attention to content and inconsistencies in your argument. Make additions and corrections, and then proofread your work. Correct errors in style and grammar, and make sure your prose reads fluently. When in doubt, ask a friend to read your paper. Sometimes another set of eyes can catch mistakes that yours don't.

• It is always well worth your time to proofread and edit your paper before submission. Not only can you correct any errors in style and grammar, but inconsistencies in your argument as well.
• 1 Brandeis University: The Lens Essay
• 2 The McGraw Center for Teaching and Learning: Active Reading Strategies

About the Author

Sophie Levant is a freelance writer based in Michigan. Having attended Michigan State University, her interests include history classical music, travel, and the German language. Her work has been published at eHow and Travels.

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Lens Analysis

What is lens analysis?

Lens analysis requires you to distill a concept, theory, method or claim from a text (i.e. the “lens”) and then use it to interpret, analyze, or explore something else e.g. a first-hand experience, visual text, physical object or space, historical or current event or figure, a cultural phenomenon, an idea or even another text (i.e. the “exhibit”).

A writer employing lens analysis seeks to assert something new and unexpected about the exhibit; he or she strives to go beyond the expected or the obvious, exploiting the lens to acquire novel insights. Furthermore, there is a reciprocal aspect in that the exploration of the exhibit should cause the writer to reflect, elaborate, or comment on the selected concept or claim. Using a concept developed by someone else to conduct an analysis or interpretation of one’s own is a fundamental move in academia, one that you will no doubt be required to perform time and time again in college.

Note: The first part of the process (ICE) is also known as a “quote sandwich,” which makes sense if you think about it.

How to Perform Lens Analysis

• Introduce selected quotation from lens text i.e. provide the source for the quote as well as its context.
• Cite the quotation i.e. use a signal phrase and partial quotation to present the author’s ideas clearly to your reader. Make sure to provide the required citation (MLA for this class).
• Explain what the quotation means in terms of your argument i.e. ensure that the meaning of the quotation is clear to your reader in connection to your argument.
• Apply the quotation to a specific aspect of the exhibit i.e. use the idea expressed in the quotation to develop an insightful interpretation about an aspect of the exhibit.
• Reflect on the particular lens idea more deeply i.e. complicate it, extend its scope, or raise a new question that you will address next in your analysis, if applicable.

Writing About Literature Copyright © by Rachael Benavidez and Kimberley Garcia is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Literary analysis: applying a theoretical lens.

A common technique for analyzing literature (by which we mean poetry, fiction, and essays) is to apply a theory developed by a scholar or other expert to the source text under scrutiny. The theory may or may not have been developed in the service literary scholarship.  One may apply, say, a Marxist theory of historical materialism to a novel, or a Freudian theory of personality development to a poem. In the hands of an analyst, another’s theory (in parts or whole) acts as a conceptual lens that when brought to the material brings certain elements into focus. The theory magnifies aspects of the text according to its special interests. The term  theory may sound rarified or abstract, but in reality a theory is simply an argument that attempts to explain something. Anytime you go to analyze literature—as you attempt to explain its meanings—you are applying theory, whether you recognize its exact dimensions or not. All analysis proceeds with certain interests, desires, and commitments (and not others) in mind. One way to define the theory—implicit or explicit—that you bring to a text is to ask yourself what assumptions (for instance, about how stories are told, about how language operates aesthetically, or about the quality of characters’ actions) guide your findings. A theory is an argument that attempts to explain something.

Let’s turn again to the insights about using theories to analyze literature provided in Joanna Wolfe’s and Laura Wilder’s  Digging into Literature: Strategies for Reading, Analysis, and Writing (Boston: Bedford/St. Martin’s, 2016).

Here’s a brief example of a writer using a theoretical text as a lens for reading the primary text :

In her book,  The Second Sex , the feminist philosopher Simone de Beauvoir describes how many mothers initially feel indifferent toward and estranged from their new infants, asserting that though “the woman would like to feel that the new baby is surely hers as is her own hand,. . . she does not recognize him because. . .she has experienced her pregnancy without him: she has no past in common with this little stranger” (507). Sylvia Plath’s “Morning Song” exemplifies the indifference and estrangement that de Beauvoir describes. However, where de Beauvoir asserts that “a whole complex of economical and sentimental considerations makes the baby seem either a hindrance or a jewel” (510), Plath’s poem illustrates how a child can simultaneously be both hindrance and jewel. Ultimately, “Morning Song” shows us how new mothers can overcome the conflicting emotions de Beauvoir describes.

Daniel DiGiacomo.  From Mourning Song to “Morning Song”: The Maturation of a Maternal Bond.

Notice that in this brief passage, the writer fairly represents de Beauvoir’s theory about maternal feelings, then goes on to apply a portion of that theory to Plath’s poem, a focusing move that establishes the writer’s special interest in an aspect of Plath’s text. In this case, the application yields new insight about the non-universality of de Beauvoir’s theory, which Plath’s poem troubles.  The theory magnifies a portion of the primary text, and its application puts pressure on the soundness of the theory.

Applying a Theoretical Lens: W.E.B. Du Bois Applied to Langston Hughes

Experienced literary critics are familiar with a wide range of theoretical texts they can use to interpret a primary text. As a less experienced student, your instructors will likely suggest pairings of theoretical and primary texts.  We would like you to consider the writerly workings of the theory-primary text application by examining a student’s paper entitled “Double-consciousness in ‘Theme for English B,” an essay which uses W.E.B. Du Bois’s theory (of  double-consciousness ) to elucidate and interpret Langston Hughes’s poem (“Theme for English B”). W.E.B. Du Bois (1868-1963) was an American sociologist, civil rights activist, author, and editor. Langston Hughes (1902-1967) was an American poet, activist, editor, and guiding member of the group of artists now known as the Harlem Renaissance.

But before you can make sense of that student’s essay, we ask that you read both a synopsis of the  theoretical text   and the   primary text .

Primary Text

The instructor said,

Go home and write  a page tonight.

And let that page come out of you—

Then, it will be true.

I wonder if it’s that simple?

I am a twenty-two, colored, born in Winston-Salem.

I went to school there, then Durham, then here

to this college on the hill above Harlem,

I am the only colored student in my class.

The steps from the hill lead down into Harlem through a park, then I cross St. Nicholas,

Eighth Avenue, Seventh, and I come to the Y,

the Harlem Branch Y, where I take the elevator

up to my room, site down, and write this page:

It’s not easy to know what is true for you or me

at twenty-two, my age. But I guess I’m what

I feel and see and hear, Harlem, I hear you:

hear you, hear me—we two—you, me, talk on this page.

(I hear New York, too.) Me—who?

Well, I like to eat, sleep, drink, and be in love.

I like to work, read, learn, and understand life.

I like a pipe for a Christmas present,

or records—Bessie, bop, or Bach.

I guess being colored doesn’t make me not like

the same things other folks like who are other races.

So will my page be colored that I write?

Being me, it will not be white.

But it will be  a part of you, instructor.

You are white—

yet a part of me, as I am a part of you.

That’s American.

Sometimes perhaps you don’t want to be a part of me.

Nor do I often want to be a part of you.

But we are, that’s true!

As I learn from you,

I guess you learn from me—

although you’re older—and white—

and somewhat more free.

Theoretical Text 

W.E.B. Du Bois

Of Our Spiritual Strivings

O water, voice of my heart, crying in the sand,

All night long crying with a mournful cry,

As I lie and listen, and cannot understand

The voice of my heart in my side or the voice of the sea.

O water, crying for rest, is it I, is it I?

All night long the water is crying to me.

Unresting water, there shall never be rest

Till the last moon drop and the last tide fall,

And the fire of the end begin to burn in the west;

And the heart shall be weary and wonder and cry like the sea,

All life long crying without avail

As the water all nigh long is crying to me.

                    —Arthur Symons

Between me and the other world there is an unasked question: unasked by some through feelings of delicacy; by others through the difficulty of rightly framing it. All, nevertheless, flutter round it. They approach me in a half-hesitant sort of way, eye me curiously or compassionately, and then, instead of saying directly, How does it feel to be a problem? they say, I know an excellent colored man in my town; or I fought at Mechanicsville; or Do not these Southern outrages make your blood boil? At these I smile, or am interested, or reduce the boiling to a simmer, as the occasion may require. To the real question, How does it feel to be a problem? I answer seldom a word.

And yet, being a problem is a strange experience—peculiar even for one who has never been anything else, save perhaps in babyhood and in Europe. It is in the early days of rollicking boyhood that the revelation first bursts upon one, all in a day, as it were. I remember well when the shadow swept across me. I was a little thing, away up in the hills of New England, where the dark Housatonic winds between Hoosac and Taghkanic to the sea. In a wee wooden schoolhouse, something put it into the boys’ and girls’ heads to buy gorgeous visiting-cards—ten cents a package—and exchange. The exchange was merry, till one girl, a tall newcomer, refused my card—refused it peremptorily, with a glance. Then it dawned upon me with a certain sadness that I was different from the others; or, like, mayhap, in heart and life and longing, but shut out from their world as by a vast veil. I had thereafter no desire to tear down that veil, to creep through; I held all beyond it in common contempt, and lived above it in a region of blue sky and great wandering shadows. That sky was bluest when I could beat my mates at examination time, or beat them at a footrace, or even beat their stringy heads. Alas, with the hears all this fine contempt began to fade; for the worlds I long for, and all their dazzling opportunities, were theirs, not mine. But they should not keep these prizes, I said; some, all, I would wrest from them. Just how I would do it I could never decide: by reading law, by healing the sick, by telling the wonderful tales that swam in my head—some way. With other black boys the strife was not so fiercely sunny: their youth shrunk into tasteless sycophancy, or into silent hatred of the pale world about them and mocking distrust of everything white, or wasted itself in a bitter cry, Why did God make me an outcast and a stranger in mine own house? The shades of the prison-house closed round about us all: walls strait and stubborn to the whitest, but relentlessly narrow, tall, and unscalable to sons of night who must plod darkly on in resignation, or beat unavailing palms against the stone, or steadily, half hopelessly, watch the streak of blue above.

After the Egyptian and Indian, the Greek and Roman, the Teuton and Mongolian, the Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world, a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his tw0-ness, an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strengths alone keeps it from being torn asunder.

The history of the American Negro is the history of this strife, this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and spit upon by his fellows, without having the doors of Opportunity closed roughly in his face.

This, then, is the end of his striving: To be a coworker in the kingdom of culture, to escape both death and isolation, to husband and use his best powers and his latent genius. These powers of body and mind have in the past been strangely wasted, dispersed, or forgotten. The shadow of a might Negro past flits through the tale of Ethiopia the Shadowy and of Egypt the Sphinx. Throughout history, the powers of single black men flash here and there like falling stars, and die sometimes before the world has rightly gauged their brightness. Here in America, in the few days since Emancipation, the black man’s turning hither and thither in hesitant and doubtful striving has often made his very strength to loos effectiveness, to seem like absence of power, like weakness.  And yet it is not weakness—it is the contradiction of double aims. The double-aimed struggle of the black artisan—on the one hand to escape white contempt for a nation of mere hewers of wood and drawers of water, and on the other hand to plough and nail and dig for a poverty-stricken horde—could only result in making him a poor craftsman, for he had but half a heart either cause. By the poverty and ignorance of his people, the Negro minister or doctor was tempted toward quackery and demagogy; and by the criticism of the other world, toward ideals that made him ashamed of his lowly tasks. The would-be black savant was confronted by the paradox that the knowledge his people needed was a twice-told tale to his white neighbors, while the knowledge which would teach the white world was Greek to his own flesh and blood. The innate love of harmony and beauty that set the ruder souls of his people a-dancing and a-singing raised but confusion and doubt in the soul of the black artist; for the beauty revealed to him was the soul-beauty of a race which his larger audience despised, and he could not articulate the message of another people. This waste of double aims, this seeking to satisfy two unreconciled ideals, has wrought sad havoc with the courage and faith and deeds of ten thousand thousand people—has sent them often wooing false gods and invoking false means of salvation, and at times has even seemed about to make them ashamed of themselves.

Away back in the days of bondage they thought to see in one divine event the end of all doubt and disappointment; few men ever worshipped Freedom with half such unquestioning faither as did the American Negro for two centuries. To him, so far as he thought and dreamed, slavery was indeed the sum of all villainies, the cause of all sorrow, the root of all prejudice; Emancipation was the key to a promised land of sweeter beauty than ever stretched before the eyes of wearied Israelites. In song and exhortation swelled one refrain—Liberty; in his tears and curses the God he implored had Freedom in his right hand. At last it came—suddenly, fearfully, like a dream. With one wild carnival of blood and passion came the message in his own plaintive cadences:—

“Shout, O children!

Shout, you’re free!

For God has bought your liberty!”

Years have passed away since then—ten, twenty, forty; forty years of national life, forty years of renewal and development, and yet the swarthy scepter sits in its accustomed seat at the Nation’s feast. In vain do we cry to this our vastest social problem:—

“Take any shape but that, and my firm nerves

Shall never tremble!”

The Nation has not yet found peace from its since; the freedman has not yet found in freedom his promised land. Whatever of good may have come in these years of change, the shadow of a deep disappointment rests upon the Negro people—a disappointment all the more bitter because the unattained ideal was unbounded save by the simple ignorance of a lowly people.

The first decade was merely a prolongation of the vain search for freedom, the boon that seemed ever barely to elude their grasp—like a tantalizing will-o-the-wisp, maddening and misleading the headless host. The holocaust of war, the terrors of the Ku Klux Klan, the lies of carpetbaggers, the disorganization of industry, and the contradictory advice of friends and foes, left the bewildered serf with no new watchword beyond the old cry for freedom. As the time flew, however, he began to grasp a new idea. The ideal of liberty demanded for its attainment powerful means, and these the Fifteenth Amendment gave him. The ballot, which before he had looked upon as a visible sign of freedom, he now regarded as the chief means of gaining and perfecting the liberty with which war had partially endowed him. And why not? Had not votes made war and emancipated millions? Had not votes enfranchised the freedmen? Was anything impossible to a power that had done all this? A million black men started with renewed zeal to vote themselves into the kingdom. So the decade flew away, the revolution of 1876 came, and left the half-free serf weary, wondering, but still inspired. Slowly but steadily, in the following years, a new vision began gradually to replace the dream of political power—a powerful movement, the rise of another ideal to guide the unguided, another pillar of fire by night after a clouded day. It was the ideal of “book-learning”: the curiosity, born of compulsory ignorance, to know and test the power of the cabalistic letters of the white man, the longing to know. Here at last seemed to have been discovered the mountain path to Canaan; longer than the highway to Emancipation and law, steep and rugged, but straight, leading to heights high enough to overlook life.

Up the new path the advance guard toiled, slowly, heavily, doggedly; only those who have watched and guided the faltering feet, the misty minds, the dull understandings, of the dark pupils of these schools know how faithfully, how piteously, this people strove to learn. It was weary work. The cold statistician wrote down the inches of progress here and there, noted also where here and there a foot had slipped or someone fallen. To the tired climbers, the horizon was ever dark, the mists were often cold, the Canaan was always dim and far away. If, however, the vistas disclosed as yet no goal, no resting place, little but flattery and criticism, the journey at least gave leisure for reflection and self-examination; it changed the child of Emancipation to the youth with dawning self-consciousness, self-realization, self-respect. In those somber forests of his striving his own soul rose before him, and he saw himself—darkly as through a veil; and yet he saw in himself some faint revelation of his power, of his mission. He began to have a dim feeling that, to attain his place in the world, he must be himself, and not another. For the first time he sought to analyze the burden he bore upon his back, that deadweight of social degradation partially masked behind a half-named Negro problem. He felt his poverty; without a cent, without a home, without land, tools, or savings, he had entered into competition with rich, landed, skilled neighbors. To be a poor man is hard, but to be a poor race in a land of dollars is the very bottom of hardships. He felt the weight of his ignorance,—not simply of letters, but of life, of business, of the humanities; the accumulated sloth and shirking and awkwardness of decades and centuries shackled his hands and feet. Nor was his burden all poverty and ignorance. The red stain of bastardy, which two centuries of systematic legal defilement of Negro women had stamped upon his race, meant not only the loss of ancient African chastity, but also the hereditary weight of a mass of corruption from white adulterers, threatening almost the obliteration of the Negro home.

A people thus handicapped ought not to be asked to race with the world, but rather allowed to give all its time and thought to its own social problems. But alas! while sociologists gleefully count his bastards and prostitutes, the very soul of the toiling, sweating black man is darkened by the shadow of a vast despair. Men call the shadow prejudice, and learnedly explain it as the natural defense of culture against barbarism, learning against ignorance, purity against crime, the “higher” against the lower races. To which the Negro cries Amen! and swears that to such much of this strange prejudice as is founded on just homage to civilization, culture, righteousness, and progress, he humbly bows and meekly does obeisance. But before that nameless prejudice that leaps beyond all this he stands helpless, dismayed, and well-nigh speechless; before that personal disrespect and mockery, the ridicule and systematic humiliation, the distortion of fact and wanton license of fancy, the cynical ignoring of the better and the boisterous welcoming of the worse, the all-pervading desire to inculcate disdain for everything b lack, from Toussaint to the devil—before this there rises a sickening despair that would disarm and discourage any nation save the black host to whom “discouragement” is an unwritten word.

But the facing of so vast a prejudice could not but bring the inevitable self-questioning, self-disparagement, and lowering of ideals which ever accompany repression and breed in an atmosphere of contempt and hate. Whisperings and portents came borne upon the four winds: Lo! we are diseased and dying, cried the dark hosts; we cannot write, our voting is vain; what we need of education, since we must always cook and serve? And the Nation echoed and enforced this self-criticism, saying: Be content to be servants, and nothing more; what need of higher culture for half-men? Away with the black man’s ballot, by force or fraud—and behold the suicide or a race! Nevertheless, out of the evil came something of good—the more careful adjustment of education to real life, the clearer perception of the Negroes’ social responsibilities, and the sobering realization of the meaning of progress.

So dawned the time of Sturm und Drang: storm and stress today rocks out little boat on the mad waters of the world-sea; there is within and without the sound of conflict, the burning of body and rending of soul; inspiration strives without doubt, and faith with vain questionings. The bright ideals of the past—physical freedom, political power, the training of brains and the training of hands—all these in turn have waxed and waned, until even the last grows dim and overcast. Are they all wrong—all false? No, not that, but each alone was oversimple and incomplete—the dreams of a credulous race-childhood, or the fond imaginings of the other world which does not know and does not want to know our power. To be really true, all these ideals must be melted and welded into one. The training of the schools we need today more than ever—the training of deft hands, quick eyes and ears, and above all the broader, deeper, higher culture of gifted minds and pure hearts. The power of the ballot we need in sheer self-defense—else what shall save us from a second slavery? Freedom, too, the long-sought, we still seek—the freedom of life and limb, the freedom to work and think, the freedom to love and aspire. Work, culture, liberty—all these we need, not singly but together, not successively but together, each growing and aiding each, and all striving toward that vaster ideal that swims before the Negro people, the ideal of human brotherhood, gamed through the unifying ideal of Race; the idea of fostering and developing the traits and talents of the Negro, not in opposition to or contempt for other race, but rather in large conformity to the greater ideals of the American Republic, in order that someday on American soil two world races may give each to each those characteristics both so sadly lack. We the darker ones come even now not altogether empty-handed: there are today no truer exponents of the pure human spirit of the Declaration of Independence than the American Negroes; there is not true American music but the wild sweet melodies of the Negro slave; the American fairy tales and folklore are Indian and African; and, all in all, we black men seem the sole oasis of simple faith and reverence in a dusty desert of dollars and smartness. Will American be poorer if she replace her brutal dyspeptic blundering with light-hearted but determined Negro humility? of her coarse and cruel wit with loving jovial good-humor? or her vulgar music with the soul of the Sorrow Songs?

Merely a concrete test of the underlying principles of the great republic is the Negro Problem, and the spiritual striving of the freedmen’s sons is the travail of souls whose burden is almost beyond the measure of their strength, but who bear it in the name of an historic race, in the name of this the land of their fathers’ fathers, and in the name of human opportunity.

Using a Theoretical Lens to Write Persuasively

Applying a theoretical lens to poetry, fiction, plays, or essays is a standard academic move, but theories are also frequently applied to real-world cases, hypothetical cases, and other non-fiction texts in disciplines such as Philosophy, Sociology, Education, Anthropology, History, or Political Science. Sometimes, the theoretical lens analysis is called a  reading , as in a “Kantian reading of an ethical dilemma,” or a “Marxist reading of an historical episode.” At other times, the application of a theory is known as an  approach , as in a “Platonic approach to the question of beauty.”

The basic writerly moves to using a theoretical lens include:

• name and cite the theoretical text and accurately summarize this text’s argument. Usually this short summary appears in one or two paragraphs at the beginning of the essay. You will want to be sure your summary includes the key concepts you use in your paper to analyze the primary literary text.
• use the surface/depth strategy to show how deeper meanings in the primary text can be explained by concepts from the theoretical text.  You might think about this as creating a “match argument” between the primary and theoretical text (or case under consideration). Take important points made in the theoretical argument and match them to particular events or descriptions in the primary text. For instance, you could argue Langston Hughes’s line  So will my page be colored as I write? (27) matches Du Bois’s argument that the veil prevents Whites from seeing Black’s individuality. Such a match argument can form an organizing structure for the essay as you develop whole paragraphs to support different points of connection between the theoretical and primary texts. You may be able to devote an entire paragraph to the claim that Du Bois’s concept of “the veil” can help us understand Hughes’s description of the challenges his speaker faces in asking his instructor to see him on his own terms.
• support your surface/depth claims linking the primary and theoretical texts with textual evidence from the primary text . If you claim that a particular passage exemplifies a particular theory, you need to provide evidence in the form of quotations or paraphrases to support this interpretation. This evidence will most certainly need to be provided from the primary text you are analyzing but perhaps also occasionally from the theoretical text, too, especially if you connect the primary text to a small detail in the theoretical text or if the wording of the theoreticl text helps you explain something in the primary text. Use the patterns strategy to provide multiple examples from the primary text supporting your claims that it matches elements of the theoretical text.
• reveal something complex and unexpected about the primary text. The goal of the theoretical lens strategy—like all strategies of literary analysis—should be to show that the text you are analyzing is complex and can be understood on multiple levels.
• challenge, extend, or reevaluate the theoretical text (for more sophisticated analyses).  The most sophisticated uses of the theoretical lens strategy not only help you better understand the primary text but also help you better understand—and reveal complexities in—the theoretical text. When you first start applying this strategy, it may be sufficient to argue how the theoretical text helps you understand the primary text, but as you advance, you should attempt the second part of this strategy and use the primary text to extend or challenge the theoretical argument. Such arguments may serve as starting points for you to contribute to literary (or philosophical, or sociological, or historical) theory as a theorist yourself. These arguments are often made in the concluding paragraphs of analyses using the theoretical lens strategy.

Common Words and Phrases Associated with Theoretical Lens

A Sample Student Essay

Title: Double-consciousness in “Theme for English B”

Paragraph 1

The post-slavery history of African-Americans in the United States has been one of struggle for recognition. This struggle continued through the civil rights movement in the 1970s and ’80s. W.E.B. Du Bois, one of the most influential African-American leaders of the early twentieth century, described the complicated effects racism had on African-American selfhood. In his treatise  The Souls of Black Folk , Du Bois introduces the term “double-consciousness” to describe African-Americans’s struggle for self-recognition. Double-consciousness is the sense of “always looking at one’s self through the eyes of others” (8). It means that an African-American “[e]ver feels his two-ness—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body” (8). According to Du Bois, double-consciousness means that African-Americas are always judging themselves through a veil of racism, experiencing how others judge and define them rather than how they might define and express themselves.

Paragraph 2

Langston Hughes’s poem “Theme for English B,” written nearly fifty years after Du Bois’s essay, depicts one African-American’s continued struggle with double-consciousness. However, where Du Bois sees double-consciousness as a painful condition he hopes will one day disappear, Hughes seems to have a more positive view, suggesting that mainstream Americans should also have an opportunity to experience this condition. Instead of eradicating double-consciousness, Hughes seeks to universalize it. His poem suggests that true equality will be possible when all cultures are able to experience and appreciate double-consciousness.

Paragraph 3

We see the poem’s speaker struggling with double-consciousness when he expresses difficulty articulating what is “true” for himself. Hughes writes:

It’s not easy to know what is true for you and me

I feel and see and hear. Harlem, I hear you:

(I hear New York, too.) Me—who? (16-20)

In this passage, which concludes with a question about who he is, the speaker expresses a divided self. At first, he seems to identify with Harlem, an African-American neighborhood in New York, where he is currently sitting and writing. However, this identification becomes troubled by his acknowledgment that Harlem does not completely define him. When the speaker writes “hear you, hear me—we two” (19), he suggests that “you” (referring to Harlem) and “me” (referring to himself) are intimately related by not identical. They are two voices that, while both present in his poem, still “talk” (19) to one another. The fact that these voices converse, rather than speak as one, indicates they are not completely merged.

Paragraph 4

This sense of a divided self is further reinforced by the claim “(I hear New York, too.)” (20). This aside is interesting because it establishes Harlem as both separate from and connected to the larger city. This division reflects what Du Bois calls the “two-ness [of being] an Amercan [and] a Negro” (8). By placing New York in parentheses, the speaker may be suggesting that the American part of himself represented by New York plays a weaker role in his identity than the African-American self represented by Harlem. Like Du Bois, the speaker in “Theme for English B” experiences inner conflict when he tries to reconcile the different parts of himself.

Paragraph 5

We further see evidence of the speaker’s conflict when he writes that he likes “Bessie, bop, or Bach” (24). “Bessie” refrs to the popular blues singer Bessie Smith, an African-American woman who sang a very African-American style of music. At the other end of the spectrum is “Bach,” which refers to the classical European composer J.S. Bach and represents a traditionally White form of music. In the middle is “bop,” which refers to “bebop,” a form of jazz made popular in the 1940s that inspired a particular form of dance most practiced by White teenagers at the time. In saying that he likes all of these forms of music, the speaker indicates that he is a mix of both African and European identities—like Du Bois, he feels both traditional White and traditional African-American culture calling him.

Paragraph 6

The “page” that the poem’s speak has been asked to write likewise reflects the two-ness of being African-American. An essay can be thought of as black ink on white paper, which in the context of the poem represents Black identity articulated against a White background. The speaker refers to this conflict of identities when he writes, “So will my page be colored that I write? / Being me, it will not be white” (27-28). These lines suggest that the speaker is worried that his instructor will only see him as a representative Black student. It shows how the speaker is caught in a double bind: when the teacher asks the class to write something “true” (5), he will expect this particular student (who in the first stanza tells us he is the only Black student in the class) to write in a way consistent with his obvious Black heritage. But the student is aware that his White teacher doesn’t really know what it means to be Black. Thus, if he writes in a way that fulfills his instructor’s expectations, he will write a page that seems to a White teacher to be an authentic depiction of what it means to be Black—in other words, a White representation of Blackness. This dilemma illuminates what Du Bois refers to as “always looking at one’s self thorugh the eyes of others” (8). Because the speaker in the poem is so aware of what his instructor (and possibly the other students in the class) already thinks of him, he is having difficulty articulating just who he really is.

Paragraph 7

At the end of the poem, however, instead of calling for the eradication of double-consciousness as Du Bois does when he longs for the day that African-Americans will be able to “merge his double-self into a better and truer self” (9), Hughes seems to suggest that instead his instructor needs to feel the double-identity that he feels so strongly. Thus, he writes “You are white— / yet a part of me, as I am a part of you” (31-32) and “As I learn from you, / I guess you learn from me—” (36-37). These lines indicate that the White instructor needs to accept, African-American identity as part of his own culture, just as the speaker has needed to see both parts of his identity calling him. This ability to feel and be multiple perspectives, cultures, and backgrounds at once is labeled “American” in the second stanza. Hughes seems to be suggesting that even though the”two-ness” he feels is often difficult and painful, it needs to be seen as central to American—and not just African-American—identity. When he states at the end of the poem, “I guess you learn from me” (38), he is turning the tables on the teacher, and on Whites in general, by suggesting that they have as much to learn from exploring Black culture as Blacks have to learn by studying classic White culture.

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How To Write A Lens Essay

A lens essay is a type of comparative paper that, instead of comparing two subjects, compares two different interpretations of one subject. When writing a lens essay, it is important to choose a text that has two different interpretations. These interpretations can be from different time periods, different authors, or even different schools of thought. The key to writing a successful lens essay is to use your own critical analysis of the texts to argue for the validity of one interpretation over the other.

There are a few steps you can take to ensure your lens essay is successful. First, it is important to have a clear understanding of both interpretations of the text. Second, you need to develop a thesis that takes a position on which interpretation is more valid. Finally, you must use evidence from the texts to support your position.

When writing your lens essay, be sure to:

1. Choose a text that has two different interpretations.

2. Develop a thesis that takes a position on which interpretation is more valid.

3. Use evidence from the texts to support your position.

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Understanding the Purpose of a Lens Essay

A lens essay is a type of critical writing that focuses on a single text, poem, play, or work of art through the perspective of a particular idea, theory, or lens. The purpose of a lens essay is twofold: to explore the significance of the text under analysis and to articulate your own argument about that text.

When approaching a lens essay, it is important to keep in mind that you are not writing a traditional research paper. In a research paper, you would typically present a series of evidence to support your argument. In a lens essay, however, your goal is not to simply present evidence, but to critically engage with the text under analysis. This means that you will need to bring your own interpretation to the text and use evidence from the text to support your claims.

There is no one right way to approach a lens essay, but there are a few things that you should keep in mind as you write. First, it is important to select a text that you can find interesting and that you can find evidence to support your claims about. Second, you will need to develop a clear thesis statement that articulates your argument about the text. And finally, you will need to support your claims with evidence from the text itself.

If you are having trouble getting started on your lens essay, try brainstorming a few possible ideas. Once you have selected a text and a lens, you can begin to develop a thesis statement. Remember, your goal is not simply to summarize the text or to provide evidence, but to critically engage with the text and to develop your own argument.

Once you have developed a thesis statement, you can begin to gather evidence from the text to support your claims. As you read, take note of passages or quotes that you think could be helpful in supporting your argument. When you have gathered enough evidence, you can begin to organize your essay.

When organizing your lens essay, it is important to keep your argument in mind. Begin by introducing your text and your lens, and then present your thesis statement. After your thesis statement, you can provide evidence from the text to support your claims. Finally, conclude your essay by reaffirming your argument and showing how your evidence supports your claims.

Remember, a lens essay is not a research paper. You are not simply presenting evidence, but critically engaging with the text under analysis. By approaching the text from a particular perspective, you can bring new insights and interpretations to the text. By developing a clear argument and supporting it with evidence, you can write a successful lens essay.

Selecting a Primary Text and Secondary Source

A lens essay is a type of comparative paper that, instead of comparing two subjects, compares a single subject against a secondary text. The purpose of a lens essay is twofold: to demonstrate your critical reading and writing skills, and to reveal your ability to analyze a complex text through the lens of another text.

In order to write a successful lens essay, you must first choose an appropriate primary text and secondary source. The primary text is the work that you will be using as your lens; it is the work through which you will interpret the secondary source. The secondary source is the work that you will be using as your main point of reference; it is the work that you will be interpreting through the lens of the primary text.

When choosing your primary and secondary texts, there are a few things to keep in mind. First, the texts should be from different genres (e.g., you wouldn’t want to compare a novel to a non-fiction work). Second, the texts should be of different lengths; a short story would not be an appropriate primary text if your secondary source is a full-length novel. Third, the texts should be from different time periods; it would be difficult to compare a contemporary work to a work from the Victorian era, for example.

Once you have selected your primary and secondary texts, you are ready to begin writing your lens essay. The first step is to read both texts carefully, taking note of any passages or ideas that stand out to you. As you read, you should also be thinking about how the two texts might be connected; what are the similarities and differences between them? What is it about the lens text that makes it a good tool for interpreting the secondary text?

After you have finished reading both texts, it is time to start writing your essay. The first step is to write a thesis statement; this should be a single sentence that sums up the overall point you will be trying to make in your essay. For example, your thesis statement might be “In ‘The Great Gatsby,’ Fitzgerald uses the character of Jay Gatsby as a lens through which to critique the empty materialism of the 1920s.”

Once you have written your thesis statement, you can start to develop your argument. In your body paragraphs, you will want to discuss how the lens text sheds light on the secondary text. What does the lens text reveal about the secondary text that we might not have been able to see otherwise? How does the lens text help us to understand the themes and ideas of the secondary text in a new way?

When you are writing your essay, be sure to support your claims with evidence from both texts. Quotations from the texts will help to illustrate your points, and will also show that you have read both texts closely. In addition, you should also make sure to explain how your evidence supports your thesis statement; simply quoting a passage from the text is not enough, you must also explain why that passage is significant.

A lens essay can be a challenging, but ultimately rewarding, assignment. By carefully selecting your texts and developing a well-supported argument, you can use the lens essay to reveal new insights into familiar works.

Analyzing and Interpreting the Primary Text

A lens essay is a type of close reading that focuses on a single text or group of texts. Unlike other forms of close reading, a lens essay requires that you not only analyze the text (or texts) in question, but also interpret it in light of another text, typically one that is considered to be a classic or canonical work.

The idea behind a lens essay is that you take a single text and use it as a lens through which to view another text. In other words, you use the first text to shed light on the second text. The lens text can be either shorter or longer than the target text, but it should be of a similar genre (e.g., if you’re writing about a novel, you would use another novel as your lens).

To write a successful lens essay, you’ll need to do the following:

1. Choose a target text and a lens text.

2. Read both texts closely, taking careful notes.

3. Develop a thesis about how the lens text illuminates the themes, ideas, or characters in the target text.

4. Write an essay in which you analyze the target text using the lens text as a guide.

When choosing a target and lens text, look for works that share common themes, ideas, or characters. For example, if you’re interested in the theme of love in Romeo and Juliet, you could use another Shakespeare play, like A Midsummer Night’s Dream, as your lens. Or, if you’re interested in the character of Hamlet, you might use another character-driven play, like Macbeth, as your lens.

Once you’ve chosen your texts, read them both closely, taking careful notes. As you read, think about how the lens text sheds light on the target text. What themes, ideas, or characters do they share? How do they differ? What does the lens text reveal about the target text that you might not have noticed otherwise?

Once you’ve considered these questions, you should be ready to develop a thesis about how the lens text illuminates the target text. Your thesis should be specific, and it should make an argument about how the lens text helps us to understand the target text in a new or different way.

Finally, write an essay in which you analyze the target text using the lens text as a guide. In your essay, be sure to discuss both the similarities and the differences between the two texts. How do they illuminate each other? What can we learn from looking at the target text through the lens of the other?

A lens essay can be a challenging, but ultimately rewarding, exercise in close reading and interpretation. By using one text to shed light on another, you can gain a deeper understanding of both.

Exploring the Lens or Theoretical Framework

When you are asked to write a lens essay, you will be asked to analyze a particular text through a specific lens. This may be a literary work, a film, a political document, or anything else that can be looked at in different ways. In order to write a successful lens essay, you will need to have a strong understanding of the text you are analyzing and the lens through which you will be viewing it.

There are a few steps you can take to ensure that your essay is successful. First, it is important that you have a clear thesis statement that outlines the main argument of your paper. Next, you will need to provide a detailed analysis of the text, using evidence from the work itself to support your claims. Finally, you will need to discuss the implications of your analysis and how the work can be interpreted in different ways.

If you follow these steps, you will be well on your way to writing a successful lens essay. Remember to stay focused on your argument and to use evidence from the text to support your claims. With a little practice, you will be able to write a lens essay that explores the different ways a text can be interpreted.

Identifying Points of Convergence and Divergence

In a lens essay, two texts are brought into conversation with one another in order to shed new light on each. The lens essay typically employs a theoretical text as a lens and uses it to examine a more concrete text. In this way, the lens essay brings together two texts that may initially seem quite different in order to explore a larger issue.

There are a few things to keep in mind when writing a lens essay. First, it is important to identify the points of convergence and divergence between the two texts. Convergence occurs when the texts share something in common, while divergence occurs when the texts differ from one another. It is important to note both the points of convergence and divergence, as they will inform your reading of the texts.

Next, it is important to situate the texts within a larger context. What is the historical moment in which the texts were written? What are the larger issues at play that the texts address? By situating the texts within a larger context, you can begin to see how they speak to one another.

Finally, it is important to bring your own critical lens to the texts. What are you hoping to learn by bringing these texts into conversation with one another? What new insights can you glean from this conversation?

By keeping these things in mind, you can write a strong lens essay that brings two texts into conversation with one another in order to explore a larger issue.

Crafting a Clear Thesis Statement

A thesis statement is a sentence or two that states the main argument of your essay. It tells your readers what you’re going to be discussing in the paper and helps to keep your writing focused. In a lens essay, your thesis statement will typically be located at the end of your introduction.

There are a few things to keep in mind when crafting your thesis statement for a lens essay:

1. Make sure that your thesis statement is clear and concise.

2. Be sure to take a position on the issue at hand. A lens essay is not simply a summary of another text.

3. Be sure that your thesis statement is arguable. In other words, it should be something that someone could reasonably disagree with.

4. Keep in mind that your thesis statement will likely be one of the first things that your readers encounter in your paper. As such, it’s important to make sure that it is well-crafted and pack a punch.

With these things in mind, let’s take a look at a few examples of thesis statements for lens essays.

“In ‘The Great Gatsby,’ F. Scott Fitzgerald uses the lens of Jay Gatsby to explore the issue of the American dream.”

In this thesis statement, we can see that the author has taken a position on the issue at hand (the American dream) and that they are using the character of Jay Gatsby as a lens through which to examine it. This is a strong thesis statement that is arguable and provides a clear focus for the rest of the essay.

“Though ‘The Catcher in the Rye’ is often seen as a coming-of-age story, Holden Caulfield’s lens reveals a much darker view of adolescence.”

This thesis statement also takes a position on the interpretation of the novel, in this case arguing that it should be seen as a darker story than is typically assumed. Again, the use of Holden Caulfield as a lens is key to this interpretation.

“Through the lens of Scout Finch, Harper Lee’s ‘To Kill a Mockingbird’ challenges the idea that justice is always served.”

This thesis statement argues that the novel is not a simple story of justice being served, as is often assumed, but instead uses the character of Scout Finch to challenge this idea.

These are just a few examples of thesis statements for lens essays. In each case, the thesis statement takes a position on the interpretation of the text and uses the lens character to support this interpretation.

If you’re having trouble crafting a strong thesis statement for your lens essay, remember to keep these things in mind: take a position on the issue, make sure your thesis is arguable, and focus on creating a strong, punchy statement that will grab your reader’s attention.

Integrating Evidence and Examples

A lens essay is a type of critical writing that focuses on a particular text or piece of artwork through the lens of a critical theory or approach. In other words, a lens essay provides a critical interpretation of a given text or artwork by using a particular theoretical framework or lens.

There are a number of different ways to approach writing a lens essay, but regardless of approach, there are a few key elements that all lens essays should include. First and foremost, a lens essay must provide a thesis statement that states the overall argument or interpretation that the essay will be providing. This thesis should be based on a close reading of the text or artwork in question and should make use of evidence and examples from the text or artwork to support the thesis.

In addition to a thesis statement and evidence-based support, a lens essay should also include a discussion of the implications of the argument or interpretation. What does this argument or interpretation mean for our understanding of the text or artwork in question? What are the larger implications of this argument or interpretation? These are the kinds of questions that a lens essay should seek to answer.

If you are interested in writing a lens essay, there are a few things that you will need to keep in mind. First, you will need to choose a text or artwork to focus on. It is important to choose a text or artwork that you are familiar with and that you feel confident in your ability to interpret. Second, you will need to choose a critical theory or approach to use as your lens. There are many different critical theories and approaches that can be used, so it is important to choose one that you are familiar with and that you think will help you to interpret the text or artwork in question in a new and interesting way.

Once you have chosen a text or artwork to focus on and a critical theory or approach to use as your lens, you will need to close read the text or artwork in question. As you close read, you should be looking for evidence and examples that you can use to support your thesis statement. Once you have gathered this evidence, you can begin to formulate your argument or interpretation.

Once you have formulated your argument or interpretation, you should then turn your attention to the implications of this argument or interpretation. What does this argument or interpretation mean for our understanding of the text or artwork in question? What are the larger implications of this argument or interpretation? These are the kinds of questions that you should seek to answer in your lens essay.

If you keep these key elements in mind, you should be well on your way to writing a successful lens essay.

Writing a Comparative Analysis

A comparative analysis essay is an essay that compares two or more subjects. These subjects can be related to each other, or they can be completely different. For example, you might compare two different theories, or two different works of literature.

When writing a comparative analysis essay, you need to first identify the similarities and differences between the subjects you are comparing. Once you have done this, you can then start to write your essay.

There are a few different ways that you can structure your comparative analysis essay. One way is to simply list the similarities and differences between the subjects. Another way is to start with a general introduction, and then move on to discuss the similarities and differences between the subjects.

Whichever way you choose to structure your essay, make sure that each paragraph focuses on one particular point. Also, make sure to use evidence from both subjects to support your points.

If you are having trouble getting started, try brainstorming a list of the similarities and differences between the subjects you are comparing. Once you have this list, you can then start to create your essay outline.

If you need help writing your comparative analysis essay, there are a few places you can turn to for assistance. First, you can speak to your professor or TA. They will be able to give you some tips on how to get started.

You can also find a number of resources online that can help you write your essay. There are a number of websites that offer essay writing tips, and there are also a number of essay writing services that you can use.

Remember, when writing your comparative analysis essay, it is important to first identify the similarities and differences between the subjects you are comparing. Once you have done this, you can then start to write your essay. Use evidence from both subjects to support your points, and make sure to structure your essay in a way that makes it easy to follow.

Concluding with a Critical Evaluation

A lens essay is a type of analytical essay that focuses on a particular text or piece of media. In order to write a successful lens essay, you must have a clear thesis, an engaging introduction, and a well-organized argument.

Your thesis should be a statement about how the text or media you are analyzing reflects a larger issue or theme. For example, you could argue that the novel you are studying reflects the social ills of its time period.

Your introduction should give your reader a clear sense of your argument. It should also explain why you have chosen to focus on this particular text or piece of media.

Your argument should be well-organized and supported by evidence from the text or media you are analyzing. Be sure to use specific examples to illustrate your points.

Your conclusion should summarize your argument and offer a critical evaluation of your evidence. It should also explain how your analysis contributes to our understanding of the larger issue or theme you were exploring.

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Critical Lens Essay Example for English Regents

A critical lens essay is a type of essay aimed at providing a personal interpretation and analysis of a certain quotation or statement, proving one’s opinion with the help of literature references. Though it contains a word “critical” in its name, it is not meant to be a critical piece. As a matter of fact, a critical lens essay is focused on highlighting strong and weak points of a given quote. Thus, the word “critical” stands for the demonstration of critical thinking skills of the author by means of supporting his claim with certain arguments taken from literary works. Linking one’s opinion to reputable sources makes a convincing effect on the reader, proving your ideas to be true.

How is a critical lens essay used?

Writing such type of essay appears to be quite a challenging assignment for students. First, while studying at high school, college, or university, one has to obtain and develop such essential skills as critical and analytical thinking; ability to compare facts, theses, quotes, and ideas, make one’s own statements and prove them, draw right conclusions. Second, a profound research on the given topic should be done, as it determines the further direction of your writing. Finally, a student needs to have an excellent command of grammar, spelling, and punctuation in order to express his/her thoughts clearly and academically correctly.

Thus, critical lens essays are perfect opportunities for professors to check students’ skills and abilities. No wonder this specific type of essay is often one of the tasks on the Regents, a New York State set of exams required for graduation. For this reason, one should know how to write a critical lens essay at the high academic level, because it reflects the general level of education of a student. Hence, the student is evaluated accordingly.

What is a critical lens essay format?

Typically, a critical lens essay follows a standard essay format pattern. Therefore, it consists of five paragraphs, including introduction, body paragraphs, and conclusion, so it should not be long like a research paper . In order to develop the critical analysis, a student has to use examples from two literature pieces, each one discussed in a separate paragraph. The book titles need to be underlined and capitalized, written in accordance with the capitalization and punctuation rules. As for the language and general tone of writing, it should be objective, without revealing any of the author’s personal beliefs. All the claims need to be referred to reputable literature sources that would support the author’s thesis and present the evidence of its validation. In order for the tone to sound objective, one should avoid using personal pronouns, for example, “I”, “me”, “my”, “you”, “your”, “we”, “our”. On the contrary, it is recommended to replace them with third person pronouns or general words like “people”, “readers”, “audience”.

Tips to make a critical lens essay outline

As it was mentioned above, a critical lens essay template coincides with the fixed classic essay pattern.

Introduction

The first part of an essay is the introduction. This is the first thing that makes an impression upon the reader. So, the intro part should be captivating enough to get the reader really interested in what you have to say. The introduction starts with the quote, which is not just an ordinary sentence from the text, but a significant statement that holds considerable value. It should be universally acknowledged and meaningful; the author’s name should also be provided.

After introducing the quote, a writer has to interpret it in one sentence using his/her own words. Such an interpretation is called the thesis. It plays a role of the foundation of the entire essay, which makes it a crucial part of the paper. Therefore, a key to a high-quality critical lens essay is arranging the thesis in a wise and profound way, as it presents the criteria for the further analysis.

Having provided the thesis, the writer needs to support or refute it. Though, the decision whether to agree or disagree is based not on his personal opinion, but on two literature references related to the quote. Connecting the essay with relevant references affirms the objective approach. The titles and authors of the chosen literature works have to be underlined. The intro part ends with adding a few words about the chosen reference texts topics.

Body Paragraphs

There should be two body paragraphs introducing two literature works mentioned in the introduction. The writer needs to use the references as the means for supporting his thesis. Both topic and concluding sentences demonstrate and prove the connection between the reference examples and the thesis. There should not be any summarizing; just highlighting and analysis of the main points of both literary texts explaining their relevance to the core statement. Moreover, there is no need to retell the plot of the chosen texts. On the contrary, the writing should be laconic, but clear. To convey the arguments in the most appropriate way, some literary elements from the reference texts should be chosen, such as the following:

• Characterization (direct or indirect way to describe the character);
• Conflict (opposition of the ideas, forces, views);
• Figurative language (metaphor, simile, hyperbole, alliteration, personification);
• Flashback (describing the past event that is necessary to know at present);
• Foreshadowing (hints on the events to come);
• Setting (describing time and place of action);
• Symbolism (representing something through another thing);
• Theme (main idea, message of the text);
• Tone (author’s attitude towards the audience or subject).

The last essay part summarizes the arguments and proves the initial thesis right or wrong. The quote and the thesis should be restated here, but the thesis has to be rephrased, not taken from the intro part word by word. If the essay is written in a right manner, then the conclusion would follow in the most logical way and the readers would totally agree to it. While body paragraphs persuade the reader of the correctness of the thesis, the conclusion just states the fact: the thesis is true and it is absolutely confirmed. So, the reader is satisfied, though intrigued to investigate the topic more.

How to choose the right quote?

This is not an easy task to do. The quote determines the quality of the essay, depending on whether it’s relevant or not. Below there is a list of possible quotes that are approved to be used for critical lens essays as they are widely applied at the English Regents.

English Regents critical lens quotes list:

• “Courage is never to let your actions be influenced by your fears” (Arthur Koestler);
• “Individuality is freedom lived” (John Dos Passos);
• “Obedience is the mother of success and is wedded to safety” (Aeschylus);
• “Nobody can acquire honor by doing what is wrong” (Thomas Jefferson);
• “Do what you can, with what you have, and where you are” (Theodore Roosevelt);
• “Price is what you pay. Value is what you get” (Warren Buffet);
• “Some books leave us free and some books make us free” (Ralph Waldo Emerson);
• “The final forming of a person’s character lies in their own hands” (Anne Frank);
• “Prejudice is the child of ignorance” (William Hazlitt);
• “If there is no struggle, there is no progress” (Frederick Douglas);
• “It is impossible to go through life without trust” (Graham Green);
• “Fear is simply the consequence of every lie” (Fyodor Dostoevsky);
• “No two persons regard the world in exactly the same way” (J. W. von Goethe);
• “We pay a price for everything we get or take in this world” (L. M. Montgomery);
• “Men are at the mercy of events and cannot control them” (Herodotus);
• “Although the world is full of suffering, it is full also of the overcoming of it” (Helen Keller);
• “Divide each difficulty into as many parts as is feasible and necessary to resolve it” (Rene Descartes);
• “Don’t cry because it’s over, smile because it happened” (Dr. Seuss);
• “You only live once, but if you do it right, once is enough” (Mae West);
• “In three words I can sum up everything I’ve learned about life: it goes on” (Robert Frost);
• “Insanity is doing the same thing, over and over again, but expecting different results” (Albert Einstein);
• “Life is what happens to you while you’re busy making other plans” (John Lennon);
• “It is better to be hated for what you are than to be loved for what you are not” (André Gide);
• “Life is like riding a bicycle. To keep your balance, you must keep moving” (Albert Einstein);
• “The real hero is always a hero by mistake” (Umberto Eco);
• “It is the human lot to try and fail” (David Mamet);
• “You must take life the way it comes at you and make the best of it” (Yann Martel);
• “The human heart has ever dreamed of a fairer world than the one it knows” (Carleton Noyes);
• “To gain that which is worth having, it may be necessary to lose everything else” (Bernadette Devlin);
• “All that is literature seeks to communicate power” (Thomas De Quincey);
• “It is not what an author says, but what he or she whispers, that is important” (Logan Pearsall Smith);
• “What lasts is what is written. We look to literature to find the essence of an age” (Peter Brodie);
• “Good people are good because they’ve come to wisdom through failure” (William Saroyan);
• “All literature is protest. You can’t name a single literary work that isn’t protest” (Richard Wright);
• “The bravest of individuals is the one who obeys his or her conscience” (J. F. Clarke);
• “We do not read novels for improvement or instruction” (Oliver Wendell Holmes);
• “In a dark time, the eye begins to see” (Theodore Roethke);
• “A person is a person through other persons” (Archbishop Desmond Tutu);
• The right good book is always a book of travel; it is about a life’s journey” (H.M. Tomlinson).

The quotations listed above serve as appropriate examples of the NYS English Regents critical lens essay quotes. Thus, they might be widely used during the preparation for the Regents or any other type of exam where a critical lens essay is one of the tasks.

How to write a critical lens essay step by step?

Below there are detailed steps that may serve as an instruction for writing this type of essay. Each step will be followed by the relevant part of a critical lens essay example to make the guideline even more clear.

Step 1. Choose a meaningful quote and introduce it, indicating its author. Add a few sentences before it to get the readers involved and let them follow the logical flow of your thoughts.

Step 2. Interpret the quote, rewrite it using your own words. That would be your thesis.

Step 3 . Agree or disagree with the thesis.

Step 4. Introduce two literary references that prove your thesis. Express in a few words how they support the thesis.

Step 5. Start writing the first body paragraph focusing on the first literary reference mentioned in the intro part. Choose the literary element, through which the text and thesis would be connected. Prove that the text example supports the quote.

Step 6 . Do the same thing focusing on the other literary work while writing the second body paragraph.

Step 7. Summarize everything you have written. State the quote and thesis again, the latter should be rephrased, though. The conclusion has to prove the coherence between the thesis and arguments written above.

Below there is a sample of a critical lens essay that may be referred to during the preparation for the English Regents.

Critical lens essay example for English Regents

Human life is a constant alternating between success and failure. Today one may enjoy the abundance of money and opportunities, while tomorrow may bring something totally different. Theodore Roosevelt once said, “Do what you can, with what you have, and where you are.” One’s duty in life is to do one’s best, strive to survive and get moving using all the skills and resources available, regardless of the circumstances. Life indeed often forces people to keep trying even in the most unfavorable conditions and teaches that doing this is the only key to win. Both Robinson Crusoe by Daniel Defoe and Love of Life by Jack London support the idea that all the problems can be solved if the person is well motivated and wise enough to direct all the efforts and chances towards one’s goal.

The novel Robinson Crusoe illustrates a strong will of an ordinary man who faced unpredictable circumstances after a shipwreck. He has lost everything and everyone just in a moment. The fate left him alone on the desert island in total despair. Daniel Defoe uses the direct method of characterization showing main hero’s desire to survive. He was not expecting such a fatal failure. Robinson got a tremendous challenge that let him acknowledge himself as a miserable creature but also created perfect conditions for self-discovery. On the unknown out-of-the-way patch of the Earth, he found himself completely helpless and alone in his struggle for life. Nevertheless, Crusoe realized the real value of human life and gathered all the possible means he could ever find on the island, which combined with his brilliant intellect and willpower saved him afterwards. The story is narrated in the form of his own diary, which pictures the hero in the most veritable way. He kept trying over and over again while building his refuge place, acquiring hunting and farming skills. The long twenty-eight years way through failures to victory taught him that the main thing in life is the ability to pull oneself together when there seems like nothing can be done. Robinson proved that it is not the setting and opportunities that matter, but a strong goal-oriented approach to the problem.

Love of Life demonstrates another example of overcoming hardships in life. Gold seekers are lost in the White Desert. While one of them leaves his comrade in trouble, he succeeded to survive. Through the tone of the novel, it is evident that Jack London supports his hero picturing him as a symbol of a victorious will power. Physical exhaustion, freezing cold of the White Desert, pain from the betrayal of the only friend, fear of loneliness, hunger, which is not eased with the miserable stuff that cannot even be called food. Moreover, he suffers from the pain in legs, being severely injured. Torturing body ache is combined with the despair of useless attempts to gain food and unbearable exhaustion, which leads to hallucinations. Yet, in spite of all he has encountered, despite being frightened and despaired, the man found enough courage not to give up but went on with a great passion for life, which helped him during struggles with a bear and a wolf. His irresistible desire to live, tranquility, and patience is what removed the fear and saved him from death. The hero was doing what he could: he was able to walk, he walked; he could only crawl, he crawled; he was obliged to fight with wild animals, so he did. As long as there were those primitive means for survival, no matter how adverse the setting, the man continued his difficult path and, finally, he succeeded.

All things considered, it seems sensible to assume that in order to lead the life to the full and survive despite all the troubles, one needs to use each little thing around, notwithstanding the limits. The core of success is human mind and will that dominates over poor conditions, situations that seem to be impossible, fears, and desperate obstacles. Thus, the saying “Do what you can, with what you have, and where you are” serves as the right motto for the general life philosophy.

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What Is a Critical Lens Essay?

A critical lens essay is a form of narrative essay containing five paragraphs covering a certain opinion of a direct quote. The standard five-paragraph format includes an introduction, three supporting paragraphs, and a conclusion. Each of the paragraphs examines critically the main point presented by the writer. Paragraphs in the critical lens essay are extremely structured and must adhere to certain guidelines in order to be written correctly.

In the first sentence of the introduction paragraph, the writer of the essay takes a direct quote from one of the pieces of literature and copies it. Then, the writer reinterprets that quote using original words and thoughts which are directly related. In the third sentence of the introduction, the writer states either agreement or disagreement with the opinion and gives reasons for support. The writer states which two literary works will be examined throughout the remainder of the essay.

The second and third paragraphs follow a different format as the introduction, but are written in the same way. The first sentence includes a literary element taken from one of the books, such as theme, characterization or the setting, and proves the point. Next, the writer shows how that point was proven and follows up with one more supporting sentence. The last sentence in the paragraph summarizes the thoughts presented.

In a critical lens essay, the fourth paragraph is based on the writer’s personal experiences. The paragraph should be written using the standard four- sentence structure . It either proves or disproves the point of view presented in the preceding two paragraphs.

After all ideas are presented using the outlined format, the writer concludes the essay by restating the original quote in the first sentence. The next sentence is a summary of why the quote is true or false followed by a prediction about future events in the next sentence. The individual should use another quote from one of the chosen works to further support the writer’s ideas to tie up the critical lens essay.

These types of essays are written for a variety of reasons. One reason is to sway the reader's point of view on a particular famous quote or to offer fresh insight into the meaning of the quote. In addition to that, the critical lens essay is assigned to assess the student’s skills in reading, writing and critical thinking . They are used to narrow the scope of a specific piece of literature.

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Secrets to Literature Lenses for Textual Analysis

June 30, 2022 //  by  Lindsay Ann //   1 Comment

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We all want our English students to have deeper, more meaningful discussions about their reading , and literature lenses provide a framework for textual analysis. Teaching students to think about texts through the literary criticism lenses helps students to do this independent of our constant scaffolding and guidance. 

That’s what we call a win win in the teaching biz. 

Today I’m going to dive into how bringing literary criticism and the idea of reading through the critical lenses associated with literary criticism can help deepen the experiences of your student readers.

 Let’s jump in! 

What is Literary Criticism?

Okay, so what is literary criticism anyway?

You may remember this term from those ginormous Norton Anthologies we had to read in college (or “back in the day” as my students so kindly refer to it…🙃). Simply put, literary criticism is the reader’s text-based interpretation of an author’s deeper meaning in a work of fiction. Literary criticism is the way we analyze, evaluate, judge, and talk about literature.

At its most sophisticated , literary criticism is the way you discussed The Grapes of Wrath in your American Lit. survey course, and at its most practical , literary criticism is the way you share your frustrations about the gratuitous descriptions of nature in Where the Crawdads Sing over a cold glass of Pinot with your book club gals. 

Literary criticism is what we hope students do as they read their independent reading books, book club books, and study whole class texts. We want learners to pick up on the nuanced way the author creates the theme or the way that the setting impacts the behavior of the characters or the use of dialogue to create the mood and to do all of this by citing examples from the text to support how their thinking was shaped, all of this discussion is literary criticism .

Types of Literature Lenses

Literary lenses allow readers to focus on particular elements of a text when reading. When readers put on these figurative critical lenses, they can hone in on patterns that emerge.

It’s sort of like when you’re watching an episode of House Hunters and are absolutely ready to throw the remote at the wall because no matter what a house looks like, the prospective buyers can’t get past the fact that the walls are painted gray. They can only see through the lens of not wanting to have to paint the whole house (and hey, who really can blame them?) because that’s what they’re choosing to focus on . 

Similarly, readers make the choice to read through certain lenses in order to see things from a certain perspective .

This allows us to ignore other moves happening in a work of literature and really zero-in on specified elements . These elements are dictated by the type of literary lens a reader is choosing to read through. 

There are many different literary lenses, but they can be categorized into four main types:

• Traditional literary criticism 
• Sociological criticism 
• Psychological criticism 
• Criticism of specific ideas/ways of thinking

It often helps to read through multiple lenses and we usually do this pretty naturally.

For example, it can be difficult to extrapolate the sociological and psychological lenses. Oftentimes a character may behave in a way because of how their society has influenced their psychological thought patterns, and so looking at a text from multiple perspectives allows the reader a richer reading experience .

Sometimes we read through certain lenses based on our prior experiences (e.g., text to text, text to self, text to world connections) which is known as “reader response theory,” but readers can also be trained to view a text through the different types of literary lenses. 

Literary Lenses List

Use this handy-dandy literary lenses list (say that four times fast) to help you plan mini-lessons on how to intentionally read through the literature lenses. 

• Gender/queer theory 
• Moral criticism 
• Formalism/new criticism 
• Historical/biographical/cultural
• Eco-criticism 
• Structural/semiotic
• Affliction/disability
• Aestheticism 
• Reader response/personal mirrors

Critical Lenses for Poetry Analysis

Poetry makes for quick and easy but meaningful scaffolding when teaching students to read through literature lenses. Take a look at this excerpt from “Oil” by Fatima Asghar :

I’m young & no one around knows where my parents are from.  A map on our wall & I circle all the places I want to be. My auntie, not-blood but could be, runs the oil through my scalp.  Her fingers play the strands of my hair. The house smells like badam.  My uncle, not-blood but could be, soaks them in a bowl of water.  My auntie says my people might be Afghani. I draw a ship on the map. I write Afghani under its hull. I count all the oceans, blood & not-blood, all the people I could be, the whole map, my mirror.

This short excerpt can be read through a multitude of literature lenses, but perhaps the three that students would most easily identify are Formalism, Feminism, Historical/Biographical/Cultural.

Encourage students to start with the lenses they feel most comfortable with or feel the most obvious when they read. 

When reading this excerpt through the Feminist lens, encourage students to answer these questions as they read:

• How are female roles portrayed? 
• How do women and men behave? Is this in accordance with socially accepted gender norms or does it seem to contradict those norms?
• Is the narrator male or female? What helps you to determine this? 

When reading this excerpt through the Historical/Biographical/Cultural lens, encourage students to answer these questions as they read: 

• How do the events in the text reflect the time period in which this text was written?
• Can you identify any important “shifts” or cultural changes?
• What words standout as representations of a particular time in history, significant to the author’s life experiences, or culturally significant?

When reading this excerpt through the Formalist lens, encourage students to answer these questions as they read:

• How does the structure of the text contribute to the meaning?
• How does the author use imagery to develop the reader’s understanding?
• What connections between details can you make? Why do you suppose the author chose to include those details?

Getting students to feel confident applying the literature lenses as they read will require a great deal of modeling and the gradual release model may feel slower than ever, but hang in there!

Poetry reading and analysis allows you to model reading through one lens to start then layering on another and another until eventually you can take off the training wheels!

Challenge students to ask themselves questions associated with the literature lenses every time they read! 

AP Literature Lenses

The Advanced Placement (AP) Literature and Composition course exists to challenge students to see literature as a pursuit to better understand humanity. The College Board asserts that students should understand how literature shapes and is shaped by society.

Using AP literature lenses gives students an anchor of sorts to connect themselves to while they explore these complex ideas in rich literary works. 

Each FRQ on the AP Lit. test requires students to demonstrate a deep understanding of a passage or a complete work. This understanding moves well beyond the DOK 1 questions and demands them to assert their understanding of how an author used literary techniques and devices to shape meaning and reveal a truth, assumption, or behavior essential to the human experience.

In order to do that, students would benefit greatly from routine experience practicing reading texts using AP literature lenses . 

A fun way I’ve seen an AP teacher teach this idea is having students study the lenses independently and then in “literature lens groups,” they’re tasked with identifying and analyzing ideas through their assigned lenses as the class watches Shrek . I love how accessible the teacher made this abstract concept, even more an advanced course! 

There are so many ways to introduce literature lenses into your classroom. Children’s books are a particularly fun way to engage the gradual release of responsibility for student readers. My high schoolers always think it’s cheesy to be reading The Giving Tree until we start having in-depth discussions about the elements of feminist critical theory represented in the book and then their minds are blown. 

Another great way to practice reading using literature lenses in the classroom is to use hexagonal thinking . You know I’m a huge fan of this retrieval and connection strategy, and it can be a real challenge for students to connect together elements of an assigned or self-selected text to represent elements of one or more of the literature lenses. 

As you can tell, my mind is absolutely racing with possibilities for bringing in this concept to my classroom. Have you done anything like this in your classrooms? I’d love to hear more in the comment section below! 

Hey, if you loved this post, you’ll want to download a  FREE copy of my guide to streamlined grading .

I know how hard it is to do all the things as an English teacher, so I’m excited to share some of my best strategies for reducing the grading overwhelm. 

About Lindsay Ann

Lindsay has been teaching high school English in the burbs of Chicago for 19 years. She is passionate about helping English teachers find balance in their lives and teaching practice through practical feedback strategies and student-led learning strategies. She also geeks out about literary analysis, inquiry-based learning, and classroom technology integration. When Lindsay is not teaching, she enjoys playing with her two kids, running, and getting lost in a good book.

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Revising with Lenses

That point is valid for revising, too, which you may know if you’ve ever tried to “fix everything” in a single pass over a manuscript that needed a good deal of work. But how else are you supposed to go about it?

Lux’s approach can be useful for nonfiction writers, too, because it gives you a specific and limited job for each pass. As an added benefit, your understanding of your manuscript and its architecture will deepen with each reading draft, so that after several passes with different lenses, you’ll see the bones of the manuscript more clearly than you could after the first or second read.

Ready to try? Here’s how:

Sometimes writers abandon a project because they don’t know what to do next in revision. Other times writers abandon a project because they’re overwhelmed by how much they need to do. Here’s the magic of this approach: Lenses can help with either problem. If you don’t know what to do next, lenses give you an entry point. If you feel swamped by the too-muchness of revision, this approach breaks it down into manageable tasks. Because lenses allow you to keep moving, they are one path toward improvement—for your project, and for you as a writer.

This essay is adapted from The Invisible Art of Literary Editing , co-authored by Bryan Furuness and Sarah Layden and forthcoming from Bloomsbury Academic in March 2023.

Bryan Furuness is the author of a couple of novels: The Lost Episodes of Revie Bryson   and  Do Not Go On . He lives in Indiana, teaches at Butler University, and believes that breakfast burritos are the perfect food.

Sarah Layden is the author of the forthcoming story collection, Imagine Your Life Like This  (University of Wisconsin Press, April 2023); a novel,  Trip Through Your Wires ; and a chapbook of flash fiction,  The Story I Tell Myself About Myself . She teaches creative writing at Indiana University-Purdue University Indianapolis.

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Social Sciences: Racism Through Different Lenses Essay

Introduction, different views from a humanities lens, impacts on value addition and personal view of society.

Racial diversity is a critical concept that calls for a deeper understanding of how human relations influence and shape social interactions. For instance, when interacting with individuals from a different race, one may avoid using stereotypical and hidden language that would make other people uncomfortable. This knowledge adds value to human interactions and influences personal views of communities, leading to a more diverse society.

Analyzing the topic of diversity through the humanities lens differs from the social sciences beyond statistical information and field reports into the human experience. By examining individuals and occurrences from the perspective of their immediate surroundings, humanities help to reveal phenomena people may never directly experience (Jones et al., 2019). If I had used the humanities lens, I would have looked into significant occurrences such as the Women’s Rights and Black Lives Matter movements.

A thorough analysis of diversity adds value to social interactions by informing human behavior through a deeper understanding of racism and its impacts on society. People use this knowledge to adjust their conversations in various contexts. Conversations can be adjusted to include affirmations that demonstrate acceptance of other ethnic groups and an appreciation of their roles in society to meet their social and psychological needs, as outlined by Maslow’s theory (Christopher, 2021).

For example, I remember having to use English instead of French when addressing an African-American friend who would have felt left out. This course has helped me understand diversity’s crucial roles, such as shaping community projects and collaboration (Tanya et al., 2020). I now comprehend how cultural identity and intersectionality can be used to prevent bias and facilitate cultural diversity.

In conclusion, racism is an essential concept whose role in society can be evaluated through different lenses. Using the humanities lens leads to a better understanding of how human behavior in different contexts shapes conversations. Comprehending various aspects of diversity contributes to social equality since people can realize how their conversations should be adjusted to accommodate all races. This course has made me more sensitive as I avoid biased and stereotypical communication.

Christopher, A. (2021). Maslow’s hierarchy of needs. Salem Press Encyclopedia of Health .

Jones, E. K., Kumagai, A. K., & Kittendorf, A. L. (2019). Through another lens: The humanities and social sciences in the making of physicians. Medical Education , 53 (4), 328-330. Web.

Tanya, M., Leigh, T., & Edward, S. (2020). Research: How socioeconomic status impacts the way we network. Harvard Business Review Digital Articles , pp. 2-5.

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IvyPanda. (2023, December 13). Social Sciences: Racism Through Different Lenses. https://ivypanda.com/essays/social-sciences-racism-through-different-lenses/

"Social Sciences: Racism Through Different Lenses." IvyPanda , 13 Dec. 2023, ivypanda.com/essays/social-sciences-racism-through-different-lenses/.

IvyPanda . (2023) 'Social Sciences: Racism Through Different Lenses'. 13 December.

IvyPanda . 2023. "Social Sciences: Racism Through Different Lenses." December 13, 2023. https://ivypanda.com/essays/social-sciences-racism-through-different-lenses/.

1. IvyPanda . "Social Sciences: Racism Through Different Lenses." December 13, 2023. https://ivypanda.com/essays/social-sciences-racism-through-different-lenses/.

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• Fresnel Lenses and Their Design History: The Optical Properties of the Lens
• Risk Adjusted Discount Rate
• Advantages of Fresnel Lenses
• Depression in the Lens of History and Humanities
• Justice Through Social and Natural Sciences Lenses
• Orthokeratology: Reshaping Eyes With Contact Lenses
• Preparing an Adjusted Trial Balance
• Diversity Issue Through History and Humanities Lenses
• The Role of Lenses in Optics
• The Stereotypical and Actual Portraits of the Irish
• The Aspects of Abstract Liberalism
• The Validity of the Race Concept
• Racism and Its Impact on Populations and Society
• Critical Race Theory, Model Minority and Foreignness
• Institutionalized Racism and Individualistic Racism

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• The four main types of essay | Quick guide with examples

The Four Main Types of Essay | Quick Guide with Examples

Published on September 4, 2020 by Jack Caulfield . Revised on July 23, 2023.

An essay is a focused piece of writing designed to inform or persuade. There are many different types of essay, but they are often defined in four categories: argumentative, expository, narrative, and descriptive essays.

Argumentative and expository essays are focused on conveying information and making clear points, while narrative and descriptive essays are about exercising creativity and writing in an interesting way. At university level, argumentative essays are the most common type. 

In high school and college, you will also often have to write textual analysis essays, which test your skills in close reading and interpretation.

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Table of contents

Argumentative essays, expository essays, narrative essays, descriptive essays, textual analysis essays, other interesting articles, frequently asked questions about types of essays.

An argumentative essay presents an extended, evidence-based argument. It requires a strong thesis statement —a clearly defined stance on your topic. Your aim is to convince the reader of your thesis using evidence (such as quotations ) and analysis.

Argumentative essays test your ability to research and present your own position on a topic. This is the most common type of essay at college level—most papers you write will involve some kind of argumentation.

The essay is divided into an introduction, body, and conclusion:

• The introduction provides your topic and thesis statement
• The body presents your evidence and arguments
• The conclusion summarizes your argument and emphasizes its importance

The example below is a paragraph from the body of an argumentative essay about the effects of the internet on education. Mouse over it to learn more.

A common frustration for teachers is students’ use of Wikipedia as a source in their writing. Its prevalence among students is not exaggerated; a survey found that the vast majority of the students surveyed used Wikipedia (Head & Eisenberg, 2010). An article in The Guardian stresses a common objection to its use: “a reliance on Wikipedia can discourage students from engaging with genuine academic writing” (Coomer, 2013). Teachers are clearly not mistaken in viewing Wikipedia usage as ubiquitous among their students; but the claim that it discourages engagement with academic sources requires further investigation. This point is treated as self-evident by many teachers, but Wikipedia itself explicitly encourages students to look into other sources. Its articles often provide references to academic publications and include warning notes where citations are missing; the site’s own guidelines for research make clear that it should be used as a starting point, emphasizing that users should always “read the references and check whether they really do support what the article says” (“Wikipedia:Researching with Wikipedia,” 2020). Indeed, for many students, Wikipedia is their first encounter with the concepts of citation and referencing. The use of Wikipedia therefore has a positive side that merits deeper consideration than it often receives.

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An expository essay provides a clear, focused explanation of a topic. It doesn’t require an original argument, just a balanced and well-organized view of the topic.

Expository essays test your familiarity with a topic and your ability to organize and convey information. They are commonly assigned at high school or in exam questions at college level.

The introduction of an expository essay states your topic and provides some general background, the body presents the details, and the conclusion summarizes the information presented.

A typical body paragraph from an expository essay about the invention of the printing press is shown below. Mouse over it to learn more.

The invention of the printing press in 1440 changed this situation dramatically. Johannes Gutenberg, who had worked as a goldsmith, used his knowledge of metals in the design of the press. He made his type from an alloy of lead, tin, and antimony, whose durability allowed for the reliable production of high-quality books. This new technology allowed texts to be reproduced and disseminated on a much larger scale than was previously possible. The Gutenberg Bible appeared in the 1450s, and a large number of printing presses sprang up across the continent in the following decades. Gutenberg’s invention rapidly transformed cultural production in Europe; among other things, it would lead to the Protestant Reformation.

A narrative essay is one that tells a story. This is usually a story about a personal experience you had, but it may also be an imaginative exploration of something you have not experienced.

Narrative essays test your ability to build up a narrative in an engaging, well-structured way. They are much more personal and creative than other kinds of academic writing . Writing a personal statement for an application requires the same skills as a narrative essay.

A narrative essay isn’t strictly divided into introduction, body, and conclusion, but it should still begin by setting up the narrative and finish by expressing the point of the story—what you learned from your experience, or why it made an impression on you.

Mouse over the example below, a short narrative essay responding to the prompt “Write about an experience where you learned something about yourself,” to explore its structure.

Since elementary school, I have always favored subjects like science and math over the humanities. My instinct was always to think of these subjects as more solid and serious than classes like English. If there was no right answer, I thought, why bother? But recently I had an experience that taught me my academic interests are more flexible than I had thought: I took my first philosophy class.

Before I entered the classroom, I was skeptical. I waited outside with the other students and wondered what exactly philosophy would involve—I really had no idea. I imagined something pretty abstract: long, stilted conversations pondering the meaning of life. But what I got was something quite different.

A young man in jeans, Mr. Jones—“but you can call me Rob”—was far from the white-haired, buttoned-up old man I had half-expected. And rather than pulling us into pedantic arguments about obscure philosophical points, Rob engaged us on our level. To talk free will, we looked at our own choices. To talk ethics, we looked at dilemmas we had faced ourselves. By the end of class, I’d discovered that questions with no right answer can turn out to be the most interesting ones.

The experience has taught me to look at things a little more “philosophically”—and not just because it was a philosophy class! I learned that if I let go of my preconceptions, I can actually get a lot out of subjects I was previously dismissive of. The class taught me—in more ways than one—to look at things with an open mind.

A descriptive essay provides a detailed sensory description of something. Like narrative essays, they allow you to be more creative than most academic writing, but they are more tightly focused than narrative essays. You might describe a specific place or object, rather than telling a whole story.

Descriptive essays test your ability to use language creatively, making striking word choices to convey a memorable picture of what you’re describing.

A descriptive essay can be quite loosely structured, though it should usually begin by introducing the object of your description and end by drawing an overall picture of it. The important thing is to use careful word choices and figurative language to create an original description of your object.

Mouse over the example below, a response to the prompt “Describe a place you love to spend time in,” to learn more about descriptive essays.

On Sunday afternoons I like to spend my time in the garden behind my house. The garden is narrow but long, a corridor of green extending from the back of the house, and I sit on a lawn chair at the far end to read and relax. I am in my small peaceful paradise: the shade of the tree, the feel of the grass on my feet, the gentle activity of the fish in the pond beside me.

My cat crosses the garden nimbly and leaps onto the fence to survey it from above. From his perch he can watch over his little kingdom and keep an eye on the neighbours. He does this until the barking of next door’s dog scares him from his post and he bolts for the cat flap to govern from the safety of the kitchen.

With that, I am left alone with the fish, whose whole world is the pond by my feet. The fish explore the pond every day as if for the first time, prodding and inspecting every stone. I sometimes feel the same about sitting here in the garden; I know the place better than anyone, but whenever I return I still feel compelled to pay attention to all its details and novelties—a new bird perched in the tree, the growth of the grass, and the movement of the insects it shelters…

Sitting out in the garden, I feel serene. I feel at home. And yet I always feel there is more to discover. The bounds of my garden may be small, but there is a whole world contained within it, and it is one I will never get tired of inhabiting.

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Though every essay type tests your writing skills, some essays also test your ability to read carefully and critically. In a textual analysis essay, you don’t just present information on a topic, but closely analyze a text to explain how it achieves certain effects.

Rhetorical analysis

A rhetorical analysis looks at a persuasive text (e.g. a speech, an essay, a political cartoon) in terms of the rhetorical devices it uses, and evaluates their effectiveness.

The goal is not to state whether you agree with the author’s argument but to look at how they have constructed it.

The introduction of a rhetorical analysis presents the text, some background information, and your thesis statement; the body comprises the analysis itself; and the conclusion wraps up your analysis of the text, emphasizing its relevance to broader concerns.

The example below is from a rhetorical analysis of Martin Luther King Jr.’s “I Have a Dream” speech . Mouse over it to learn more.

King’s speech is infused with prophetic language throughout. Even before the famous “dream” part of the speech, King’s language consistently strikes a prophetic tone. He refers to the Lincoln Memorial as a “hallowed spot” and speaks of rising “from the dark and desolate valley of segregation” to “make justice a reality for all of God’s children.” The assumption of this prophetic voice constitutes the text’s strongest ethical appeal; after linking himself with political figures like Lincoln and the Founding Fathers, King’s ethos adopts a distinctly religious tone, recalling Biblical prophets and preachers of change from across history. This adds significant force to his words; standing before an audience of hundreds of thousands, he states not just what the future should be, but what it will be: “The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.” This warning is almost apocalyptic in tone, though it concludes with the positive image of the “bright day of justice.” The power of King’s rhetoric thus stems not only from the pathos of his vision of a brighter future, but from the ethos of the prophetic voice he adopts in expressing this vision.

Literary analysis

A literary analysis essay presents a close reading of a work of literature—e.g. a poem or novel—to explore the choices made by the author and how they help to convey the text’s theme. It is not simply a book report or a review, but an in-depth interpretation of the text.

Literary analysis looks at things like setting, characters, themes, and figurative language. The goal is to closely analyze what the author conveys and how.

The introduction of a literary analysis essay presents the text and background, and provides your thesis statement; the body consists of close readings of the text with quotations and analysis in support of your argument; and the conclusion emphasizes what your approach tells us about the text.

Mouse over the example below, the introduction to a literary analysis essay on Frankenstein , to learn more.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

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At high school and in composition classes at university, you’ll often be told to write a specific type of essay , but you might also just be given prompts.

Look for keywords in these prompts that suggest a certain approach: The word “explain” suggests you should write an expository essay , while the word “describe” implies a descriptive essay . An argumentative essay might be prompted with the word “assess” or “argue.”

The vast majority of essays written at university are some sort of argumentative essay . Almost all academic writing involves building up an argument, though other types of essay might be assigned in composition classes.

Essays can present arguments about all kinds of different topics. For example:

• In a literary analysis essay, you might make an argument for a specific interpretation of a text
• In a history essay, you might present an argument for the importance of a particular event
• In a politics essay, you might argue for the validity of a certain political theory

An argumentative essay tends to be a longer essay involving independent research, and aims to make an original argument about a topic. Its thesis statement makes a contentious claim that must be supported in an objective, evidence-based way.

An expository essay also aims to be objective, but it doesn’t have to make an original argument. Rather, it aims to explain something (e.g., a process or idea) in a clear, concise way. Expository essays are often shorter assignments and rely less on research.

The key difference is that a narrative essay is designed to tell a complete story, while a descriptive essay is meant to convey an intense description of a particular place, object, or concept.

Narrative and descriptive essays both allow you to write more personally and creatively than other kinds of essays , and similar writing skills can apply to both.

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The Perks of Being a Sociopath

“Don’t take things personally,” my professor warned my class. “Therapists have a responsibility to compartmentalize social emotions like shame and guilt. Try to ignore them,” he added. “What a patient is feeling toward you is not about you.”

It was day one of Clinical Practicum, a graduate-level psychology course meant to teach us how to work as clinicians. In addition to practical skills like assessment and treatment methods, we were introduced to the concept of transference, the inevitable unconscious process of patients redirecting their feelings onto their therapists. Negative transference was something that evidently contributed to a great deal of clinical burnout, as many therapists have a difficult time separating themselves from the emotions layered upon them by those they’re counseling.

 “What’s the benefit in ignoring social emotions,” I asked.

“It allows you to observe your patient’s feelings,” he replied, “instead of absorbing them.”

That sounded like an advantage.

It wasn’t the first time I’d considered the upside of not connecting with guilt and empathy, social emotions which most people learn in early childhood. As a sociopath, these feelings come less easily to me than inherent emotions like joy and sadness. Dealing with this has certainly been a challenge, but I’ve also come to believe that some atypical traits of my personality type can be beneficial.

The American psychologist George E. Partridge suggested in 1930 that the term “sociopathy” be used to refer to the condition of the subset of individuals exhibiting atypical, antisocial tendencies. Current estimates indicate the prevalence of my personality disorder to be about 5% of the population . That means roughly 15 million people in America could reasonably be considered sociopathic. Yet any Google search on the topic will yield a who’s-who of serial killers and monsters. Like many sociopaths, I can assure you I’m neither. Though, I always knew something about me was different.

Read More: The Evolution of a Narcissist

I’ve never been able to internalize remorse. I started stealing in kindergarten, and my behavior worsened in elementary school. I had urges of violence and struggled with impulse control. By junior high, I was breaking into houses after school to relax. As my personality grew, so did my obsession with the word I’d heard used to describe it. “Sociopath.” Even as a teen I recognized some version of myself in its description. Except I never felt like a monster. And I didn’t want to be destructive.

My rebelliousness was not against parents, or teachers, or authority. It was more of a compulsion, my brain’s desperate way to jolt itself out of a suffocating apathy I had no way to convey to others. My struggle with feeling was like an emotional learning disability.

I knew I lacked empathy and wasn’t as emotionally complex as everyone else. But that was the point: I noticed these differences. This contributed to a unique type of anxiety, a stress associated with the inner conflict some believe compels sociopaths to behave in a way that is damaging. Unlike many on the sociopathic spectrum, I was fortunate to have a support system that enabled me to learn how to cope with this anxiety. That meant I was capable of both self-awareness and evolution, key milestones of emotional development that sociopaths supposedly can’t achieve.

It didn’t add up for me. Why did conventional wisdom, mainstream media, even college-level psychology courses, all pigeonhole such a significant portion of the population as irredeemable villains? There is nothing inherently immoral about having limited access to emotion. Millions of people spend billions every year in an attempt to free their mind and elevate their consciousness through meditation (or prayer) with the goal that is—for me, at least—my default state. Because it’s not what we feel or don’t feel. It’s what we do .

Of course, some sociopathic traits can be used destructively. I’m not trying to minimize the negative aspects of sociopathy or any of the anti-social personality disorders. But they can also be used con structively.

In pursuit of my PhD in clinical psychology, I spent thousands of hours counseling patients. My apathetic baseline enabled me to help people process their complex “big” feelings. I was able to act as an impartial container into which they could pour their deepest secrets, and I reflected no judgment about what they told me. I could better function as a neutral witness instead of a reactive participant because of my personality type. I recognized when negative transference occurred in my sessions, but it didn’t affect me the way it did other clinicians.

Secure in the knowledge that my psychological well-being isn’t something they need to protect, my friends and family, too, spare no details when looking to me for advice, support, or encouragement. This transparency allows me to be impartial when helping them confront often overwhelming feelings of indecisiveness, inferiority, shame, or guilt. Because I don’t experience those learned social emotions the way most people do, I can usually offer an insightful, helpful point of view.

I feel fortunate to have been spared the downside of these societal constructs. While research on sociopathy may still be sparse, there is no shortage of resources detailing the harmful effects of shame and guilt. From low self-esteem and a propensity toward anxiety and depression, to problems with sleep and digestion, the negative aspects of these emotions seem, to me, to far outweigh the positive.

Society would undoubtably fall to pieces if nobody ever felt bad about doing bad things. I get that. I acknowledge that “good” behavior is beneficial to society, just as I know there are tremendous benefits to living in a harmonious community. But, contrary to popular belief, it’s quite possible to make good choices even without the burdens of guilt and shame.

As someone whose choices are not dependent on these constructs, I like to think I can offer a helpful perspective. I’ve found that lending this point of view to people I care about lets them see their obligations through a more objective lens. This allows for healthy boundary-setting and self-advocacy, which can be just as helpful to overall well-being. Conversely, I’ve been able to adopt pro-social perspectives offered by others, enabling me to learn how they interpret things and better internalize empathy and compassion.

Like so many psychological conditions, sociopathy exists on a severity spectrum. For more than half a century we have identified sociopaths based solely on the most extreme negative behavioral examples, which only further alienates those living on the less extreme end of the scale. But there are millions of us who would prefer to peacefully coexist, who have accepted our own apathy, and have learned how to be valuable members of our families and community. We’ve learned to do this while living in the shadows. My hope is that one day we can step into the light.

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The consequences of cancel culture

It’s undeniable that cancel culture has shifted the balance from the powerful to the masses, putting the “untouchables” in the hot seat. But it’s more complicated than that, and far from perfect.

At its best, it’s been an effective tool used to sometimes “take down” the powerful, rich and popular. But at its worst, it’s ruined people’s lives for a simple mistake, blown out of proportion by a mob who feel their opinion matters most.

Further, as cancel culture continues to redefine what is and isn’t acceptable, cancellations are becoming increasingly difficult to avoid. And with our media turning any spark into a flame, anyone could end up in the crosshairs.

What happens when we get it wrong?

While cancel trials are very public, their consequences are lesser known, with victims facing devastating social, financial, and mental consequences that far outweigh their slip-up.

• Has public perception been able to change after someone has been cancelled?
• Has cancel culture gone too far? 
• How is it any different to internet bullying?

Explore the complications and consequences of cancel culture, and where we need to draw the line in order to create a more forgiving society, in this latest episode of A Different Lens .

• Cnacel culture
• A Different Lens

Susan Carland

Academic, author and social commentator

Brady Robards

Associate Professor in Sociology

Associate Professor, Communications and Media Studies

Stephanie Wescott

Lecturer, School of Education Culture and Society

Peter Bartlett

Partner, Minter Ellison law firm

Cancel culture: A poorly-defined and polarising socioeconomic phenomenon

We need to move beyond whether cancel culture is good or bad, and understand in more nuanced terms what it means, especially given the political weaponising of it.

Taking a critical look at cancel culture

There’s been little debate about exactly what cancel culture is, where it originated, and what this might mean for how one should respond.

Roald Dahl rewrites: Rather than bowdlerising books, we should help children navigate history

Children’s books implicitly shape the minds of young readers – and are covertly censored in many ways. But revising occasional words won’t usually shift the values regarded as outdated in the text.

Episode 47: Comedy, Cancel Culture, and Crossed Lines

An inclusive, welcoming society makes for better humour. Just ask the comedians on the second episode of ‘What Happens Next?’ podcast's look at the future of comedy.

You may republish this article online or in print under our Creative Commons licence. You may not edit or shorten the text, you must attribute the article to Monash Lens, and you must include the author’s name in your republication.

If you have any questions, please email [email protected]

Republishing Guidelines

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Should college essays touch on race? Some feel the affirmative action ruling leaves them no choice

CHICAGO — When she started writing her college essay, Hillary Amofa told the story she thought admissions offices wanted to hear. About being the daughter of immigrants from Ghana and growing up in a small apartment in Chicago. About hardship and struggle.

Then she deleted it all.

“I would just find myself kind of trauma-dumping,” said the 18-year-old senior at Lincoln Park High School in Chicago. “And I’m just like, this doesn’t really say anything about me as a person.”

When the Supreme Court ended affirmative action in higher education, it left the college essay as one of few places where race can play a role in admissions decisions. For many students of color, instantly more was riding on the already high-stakes writing assignment. Some say they felt pressure to exploit their hardships as they competed for a spot on campus.

Amofa was just starting to think about her essay when the court issued its decision, and it left her with a wave of questions. Could she still write about her race? Could she be penalized for it? She wanted to tell colleges about her heritage but she didn’t want to be defined by it.

In English class, Amofa and her classmates read sample essays that all seemed to focus on some trauma or hardship. It left her with the impression she had to write about her life’s hardest moments to show how far she’d come. But she and some of her classmates wondered if their lives had been hard enough to catch the attention of admissions offices.

“For a lot of students, there’s a feeling of, like, having to go through something so horrible to feel worthy of going to school, which is kind of sad,” said Amofa, the daughter of a hospital technician and an Uber driver.

This year’s senior class is the first in decades to navigate college admissions without affirmative action . The Supreme Court upheld the practice in decisions going back to the 1970s, but this court’s conservative supermajority found it is unconstitutional for colleges to give students extra weight because of their race alone.

Still, the decision left room for race to play an indirect role: Chief Justice John Roberts wrote universities can still consider how an applicant’s life was shaped by their race, “so long as that discussion is concretely tied to a quality of character or unique ability.”

“A benefit to a student who overcame racial discrimination, for example, must be tied to that student’s courage and determination,” he wrote.

Scores of colleges responded with new essay prompts asking about students’ backgrounds. Brown University asked applicants how “an aspect of your growing up has inspired or challenged you.” Rice University asked students how their perspectives were shaped by their “background, experiences, upbringing, and/or racial identity.”

WONDERING IF SCHOOLS 'EXPECT A SOB STORY'

When Darrian Merritt started writing his essay, he knew the stakes were higher than ever because of the court’s decision. His first instinct was to write about events that led to him going to live with his grandmother as a child.

Those were painful memories, but he thought they might play well at schools like Yale, Stanford and Vanderbilt.

“I feel like the admissions committee might expect a sob story or a tragic story,” said Merritt, a senior in Cleveland. “And if you don’t provide that, then maybe they’re not going to feel like you went through enough to deserve having a spot at the university. I wrestled with that a lot.”

He wrote drafts focusing on his childhood, but it never amounted to more than a collection of memories. Eventually he abandoned the idea and aimed for an essay that would stand out for its positivity.

Merritt wrote about a summer camp where he started to feel more comfortable in his own skin. He described embracing his personality and defying his tendency to please others. The essay had humor — it centered on a water gun fight where he had victory in sight but, in a comedic twist, slipped and fell. But the essay also reflects on his feelings of not being “Black enough” and getting made fun of for listening to “white people music.”

“I was like, ‘OK, I’m going to write this for me, and we’re just going to see how it goes,’” he said. “It just felt real, and it felt like an honest story.”

The essay describes a breakthrough as he learned “to take ownership of myself and my future by sharing my true personality with the people I encounter. ... I realized that the first chapter of my own story had just been written.”

A RULING PROMPTS PIVOTS ON ESSAY TOPICS

Like many students, Max Decker of Portland, Oregon, had drafted a college essay on one topic, only to change direction after the Supreme Court ruling in June.

Decker initially wrote about his love for video games. In a childhood surrounded by constant change, navigating his parents’ divorce, the games he took from place to place on his Nintendo DS were a source of comfort.

But the essay he submitted to colleges focused on the community he found through Word is Bond, a leadership group for young Black men in Portland.

As the only biracial, Jewish kid with divorced parents in a predominantly white, Christian community, Decker wrote he constantly felt like the odd one out. On a trip with Word is Bond to Capitol Hill, he and friends who looked just like him shook hands with lawmakers. The experience, he wrote, changed how he saw himself.

“It’s because I’m different that I provide something precious to the world, not the other way around,” he wrote.

As a first-generation college student, Decker thought about the subtle ways his peers seemed to know more about navigating the admissions process . They made sure to get into advanced classes at the start of high school, and they knew how to secure glowing letters of recommendation.

If writing about race would give him a slight edge and show admissions officers a fuller picture of his achievements, he wanted to take that small advantage.

His first memory about race, Decker said, was when he went to get a haircut in elementary school and the barber made rude comments about his curly hair. Until recently, the insecurity that moment created led him to keep his hair buzzed short.

Through Word is Bond, Decker said he found a space to explore his identity as a Black man. It was one of the first times he was surrounded by Black peers and saw Black role models. It filled him with a sense of pride in his identity. No more buzzcut.

The pressure to write about race involved a tradeoff with other important things in his life, Decker said. That included his passion for journalism, like the piece he wrote on efforts to revive a once-thriving Black neighborhood in Portland. In the end, he squeezed in 100 characters about his journalism under the application’s activities section.

“My final essay, it felt true to myself. But the difference between that and my other essay was the fact that it wasn’t the truth that I necessarily wanted to share,” said Decker, whose top college choice is Tulane, in New Orleans, because of the region’s diversity. “It felt like I just had to limit the truth I was sharing to what I feel like the world is expecting of me.”

SPELLING OUT THE IMPACT OF RACE

Before the Supreme Court ruling, it seemed a given to Imani Laird that colleges would consider the ways that race had touched her life. But now, she felt like she had to spell it out.

As she started her essay, she reflected on how she had faced bias or felt overlooked as a Black student in predominantly white spaces.

There was the year in math class when the teacher kept calling her by the name of another Black student. There were the comments that she’d have an easier time getting into college because she was Black .

“I didn’t have it easier because of my race,” said Laird, a senior at Newton South High School in the Boston suburbs who was accepted at Wellesley and Howard University, and is waiting to hear from several Ivy League colleges. “I had stuff I had to overcome.”

In her final essays, she wrote about her grandfather, who served in the military but was denied access to GI Bill benefits because of his race.

She described how discrimination fueled her ambition to excel and pursue a career in public policy.

“So, I never settled for mediocrity,” she wrote. “Regardless of the subject, my goal in class was not just to participate but to excel. Beyond academics, I wanted to excel while remembering what started this motivation in the first place.”

WILL SCHOOLS LOSE RACIAL DIVERSITY?

Amofa used to think affirmative action was only a factor at schools like Harvard and Yale. After the court’s ruling, she was surprised to find that race was taken into account even at some public universities she was applying to.

Now, without affirmative action, she wondered if mostly white schools will become even whiter.

It’s been on her mind as she chooses between Indiana University and the University of Dayton, both of which have relatively few Black students. When she was one of the only Black students in her grade school, she could fall back on her family and Ghanaian friends at church. At college, she worries about loneliness.

“That’s what I’m nervous about,” she said. “Going and just feeling so isolated, even though I’m constantly around people.”

The first drafts of her essay focused on growing up in a low-income family, sharing a bedroom with her brother and grandmother. But it didn’t tell colleges about who she is now, she said.

Her final essay tells how she came to embrace her natural hair . She wrote about going to a mostly white grade school where classmates made jokes about her afro. When her grandmother sent her back with braids or cornrows, they made fun of those too.

Over time, she ignored their insults and found beauty in the styles worn by women in her life. She now runs a business doing braids and other hairstyles in her neighborhood.

“I stopped seeing myself through the lens of the European traditional beauty standards and started seeing myself through the lens that I created,” Amofa wrote.

“Criticism will persist, but it loses its power when you know there’s a crown on your head!”

Ma reported from Portland, Oregon.

The Associated Press’ education coverage receives financial support from multiple private foundations. AP is solely responsible for all content. Find AP’s standards for working with philanthropies, a list of supporters and funded coverage areas at AP.org .

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Guest Essay

I’m an Economist. Don’t Worry. Be Happy.

By Justin Wolfers

Dr. Wolfers is a professor of economics and public policy at the University of Michigan and a host of the “Think Like an Economist” podcast.

I, too, know that flash of resentment when grocery store prices feel like they don’t make sense. I hate the fact that a small treat now feels less like an earned indulgence and more like financial folly. And I’m concerned about my kids now that house prices look like telephone numbers.

But I breathe through it. And I remind myself of the useful perspective that my training as an economist should bring. Sometimes it helps, so I want to share it with you.

Simple economic logic suggests that neither your well-being nor mine depends on the absolute magnitude of the numbers on a price sticker.

To see this, imagine falling asleep and waking up years later to discover that every price tag has an extra zero on it. A gumball costs $2.50 instead of a quarter; the dollar store is the $10 store; and a coffee is $50. The 10-dollar bill in your wallet is now $100; and your bank statement has transformed $800 of savings into $8,000.

Importantly, the price that matters most to you — your hourly pay rate — is also 10 times as high.

What has actually changed in this new world of inflated price tags? The world has a lot more zeros in it, but nothing has really changed.

That’s because the currency that really matters is how many hours you have to work to afford your groceries, a small treat, or a home, and none of these real trade-offs have changed.

This fairy tale — with some poetic license — is roughly the story of our recent inflation. The pandemic-fueled inflationary impulse didn’t add an extra zero to every price tag, but it did something similar.

The same inflationary forces that pushed these prices higher have also pushed wages to be 22 percent higher than on the eve of the pandemic. Official statistics show that the stuff that a typical American buys now costs 20 percent more over the same period. Some prices rose a little more, some a little less, but they all roughly rose in parallel.

It follows that the typical worker can now afford 2 percent more stuff. That doesn’t sound like a lot, but it’s a faster rate of improvement than the average rate of real wage growth over the past few decades .

Of course, these are population averages, and they may not reflect your reality. Some folks really are struggling. But in my experience, many folks feel that they’re falling behind, even when a careful analysis of the numbers suggests they’re not.

That’s because real people — and yes, even professional economists — tend to process the parallel rise of prices and wages in quite different ways. In brief, researchers have found that we tend to internalize the gains due to inflation and externalize the losses. These different processes yield different emotional responses.

Let’s start with higher prices. Sticker shock hurts. Even as someone who closely studies the inflation statistics, I’m still often surprised by higher prices. They feel unfair. They undermine my spending power, and my sense of control and order.

But in reality, higher prices are only the first act of the inflationary play. It’s a play that economists have seen before. In episode after episode, surges in prices have led to — or been preceded by — a proportional surge in wages.

Even though wages tend to rise hand-in-hand with prices, we tell ourselves a different story, in which the wage rises we get have nothing to do with price rises that cause them.

I know that when I ripped open my annual review letter and learned that I had gotten a larger raise than normal, it felt good. For a moment, I believed that my boss had really seen me and finally valued my contribution.

But then my economist brain took over, and slowly it sunk in that my raise wasn’t a reward for hard work, but rather a cost-of-living adjustment.

Internalizing the gain and externalizing the cost of inflation protects you from this deflating realization. But it also distorts your sense of reality.

The reason so many Americans feel that inflation is stealing their purchasing power is that they give themselves unearned credit for the offsetting wage rises that actually restore it.

Those who remember the Great Inflation of the ’60s, ’70s and early ’80s have lived through many cycles of prices rising and wages following. They understand the deal: Inflation makes life more difficult for a bit, but you’re only ever one cost-of-living adjustment away from catching up.

But younger folks — anyone under 60 — had never experienced sustained inflation rates greater than 5 percent in their adult lives. And I think this explains why they’re so angry about today’s inflation.

They haven’t seen this play before, and so they don’t know that when Act I involves higher prices, Act II usually sees wages rising to catch up. If you didn’t know there was an Act II coming, you might leave the theater at intermission, thinking you just saw a show about big corporations exploiting a pandemic to take your slice of the economic pie.

By this telling, decades of low inflation have left several generations ill equipped to deal with its return.

While older Americans understood that the pain of inflation is transitory, younger folks aren’t so sure. Inflation is a lot scarier when you fear that today’s price rises will permanently undermine your ability to make ends meet.

Perhaps this explains why the recent moderate burst of inflation has created seemingly more anxiety than previous inflationary episodes.

More generally, being an economist makes me an optimist. Social media is awash with (false) claims that we’re in a “ silent depression ,” and those who want to make America great again are certain it was once so much better.

But in reality, our economy this year is larger, more productive and will yield higher average incomes than in any prior year on record in American history. And because the United States is the world’s richest major economy, we can now say that we are almost certainly part of the richest large society in its richest year in the history of humanity.

The income of the average American will double approximately every 39 years. And so when my kids are my age, average income will be roughly double what it is today. Far from being fearful for my kids, I’m envious of the extraordinary riches their generation will enjoy.

Psychologists describe anxiety disorders as occurring when the panic you feel is out of proportion to the danger you face. By this definition, we’re in the midst of a macroeconomic anxiety attack.

And so the advice I give as an economist mirrors that I would give were I your therapist: Breathe through that anxiety, and remember that this, too, shall pass.

Justin Wolfers is a professor of economics and public policy at the University of Michigan and a host of the “Think Like an Economist” podcast.

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