Each author of a text sooner or later enters a veritable “blindness” one. So, although he writes his text and reads it safe by several times, error no longer occurred to him under certain circumstances. He knows, of course, what he wanted to express, and what words he has used. However, in the individual words can be contained, he does not see when reading, because he knows the exact word at this point twisted letters.
This also applies to the content of the text. The author is familiar with this, is an expert in the field described by him. But if he can make the information even to a reader who is not familiar with it, of course, must first be verified. This is the task of the proofreading. The proofreader must ensure that the text is content properly.
This includes not only the actual factual information and the explanation of technical terms and details even if the text has a coherent sentence structure and general construction. Here, a structure must be evident that each paragraph should build on each other.
Apart from the content of the text pages of proofreading must of course also be given in terms of spelling and grammar attention. The grammar flows partly already in the above-mentioned point of substantive compliance with one, because only grammatically correct sentences, make it possible that all the content is consistent and a fachunkundiger reader can understand the text and the information contained herein. Of course, in spelling the current rules must be adhered to, in which a corresponding software can be quite helpful.
Another possible understanding of the essay brings Tim Caspar BГ¶hme in his 13 January in the taz published report into play: “Stanitzek recalled that it was not so much gone to him to literary epochs essay writing as rather a reading of experimental texts in which something was tried – as the word ‘essay’ in its original meaning suggests.
For their positive examples it counts in his book next to the ‘Master’ Rutschky also taz – authors such as Detlef Kuhlbrodt or Helmut HГ¶ge – latter sat in the audience.
And yesterday Mladen Gladic delivered in the world yet his observations. He made for the site and went into more details on the location of the essays in the current media structure transformation: “Where, it have formed yet no clear hierarchies such as the web, the incentive is low, to write sophisticated essays. Because, as Passignano, everything is on the net Appearing currently not associated with prestige, so you not only get no money for it but nothing else.
In both media, publishing is in Passignano, who once wrote that it had since 1998, apart from a few railway station and airport purchases, enteres no more bookstore, then even something like a form of experiment: ‘I want Mercury reader to understand what I write, and that I will not be laughed at for it from my friends.”
Definition (taken from http://www.a-mentor.co.uk/services/research-writing/dissertation-writing/)
The literary dissertation is a genre that has a long tradition at school and university. Under the argument, it is based on a defined theme and it causes the editor to support an argument in response to a problem in order to convince a reader justifying or comparing successive theses. Moreover, “it seeks to acquire, by the students of general secondary education and students of literature, a master in the written statement, consistent, accurate and rigorous as possible on a given subject”.
The peculiarity of the literary dissertation is that it brings about asked to respond by exploiting a number of knowledge in literary history and in the texts. A candidate for the Test of Early French example, it would be absurd to undertake a dissertation and stick only to documents available in the corpus : academic knowledge and personal achievements are essential.
Prior knowledge required
As has been well said, “a literary dissertation can of course borrow knowledge to other fields of thought, historical and philosophical, particularly – but its purpose is to talk about texts. Without concrete knowledge of the works we are talking about, it falls into the padding, platitudes, generalizations, simplifications. The mortal enemy of the dissertation is the vague memory of a course, a manual, or a critical discourse. About allusive attention to: the accuracy of knowledge is crucial. The success of an dissertation depends mainly on the extent of reading, and attention to texts”. It does not “reference” to an author or a book: references need to be precise.
As you can see, the dissertation is a reflection exercise supported by knowledge: it is imperative to memorize texts, even brief, and knowing citations. Five poems read once that we will present oral FAE and believe that we can undertake to write an dissertation is part of a culpable ignorance. How to control a demonstration if the crop is insufficient? Knowledge of formal data is essential.