(We've already arrived.)
.
(I'm going to finish this work now.)
Note that luego, después and más tarde can be used interchangeably when describing a succession of events or giving instructions.
If we’re looking at where one thing is relative to another, we can use these transitional phrases:
/ | Here | (Let's go. There's no one here.) |
There | tienes. (There you go.) | |
/ | Over there | voy. (There I go.) |
/ | Outside | del banco. (I'm outside the bank.) |
Next to | un hermoso parque (My house is next to a beautiful park.) |
If we need some help in explaining something smoothly, we can use these words to provide context:
For example | : lápices, bolígrafos, cuadernos y papel. (We sell stationary, for example pencils, pens, notebooks and paper.) | |
That is to say, that is | , estoy muy cansado. (I've worked out for three hours, that is, I am very tired.) | |
Since | no había clientes, cerré la tienda. (Since there were no clients, I closed the shop.) | |
/ | Including | el amarillo y el naranja. (I like warm colors, including yellow and orange.) |
Since | tú no quieres ir. (I'm going alone, since you don't want to go.) | |
/ | Among others | . (There are many different fruits: apples, pears, grapes among others.) |
If you’ve made one statement, but have additional details to add, you can tack them on with these words:
And | me duele la cabeza. (I'm tired and I have a headache.) | |
In addition (to), furthermore, moreover, besides | me dijo que no tenía dinero. (In addition, he told me he didn't have any money.) | |
Also, as well, too | (I want the red one, too.) | |
Also, similarly, likewise, furthermore | , deberíamos llamar al cliente. (We need to finish the project. Also, we should call the client.) | |
Similarly, likewise, furthermore | , el contrato será firmado por todas las partes. (Likewise, the contract will be signed by all the parties.) | |
Similarly, likewise, by the same token | , todos los estudiantes deben aprobar el examen. (By the same token, all students must past the test.) | |
On the other hand, what's more | , todavía estamos esperando su respuesta. (What's more, we're still waiting for his answer.) | |
Moreover, on the other hand | , me gustaría volver a París. (On the other hand, I'd like to go back to Paris.) | |
Besides | , olvidé mi cartera. (We can stop by the house, besides, I forgot my wallet.) |
Just remember that y can only connect two words, phrases or sentences of the same category. This is called coordination, and y is a coordinating conjunction.
When referring to cause and effects, you can use these phrases to transition from one to the other:
As a result | , se mudó a Polonia. (As a result, he moved to Poland.) | |
As a consequence, accordingly | , desde ahora hablaremos solo en español. (Accordingly, we'll only speak Spanish from now on.) | |
As a consequence of | ello, no pude ver a mi hermano. (I arrived late and, as a consequence of that, I wasn't able to see my brother.) | |
/ / | Therefore, for this reason, that's why | llegué tarde. (I overslept, that's why I arrived late.) |
Therefore, thus | , debemos tomar medidas preventivas. (Therefore, we have to take preventive measures.) | |
Therefore, thus | , el resultado será publicado mañana. (Therefore, the result will be published tomorrow.) | |
For this reason | , las botellas de plástico están prohibidas. (For this reason, plastic bottles are forbidden.) | |
So | volvimos a casa. (The shop was closed, so we went back home.) | |
So, thus | pude aprobar el examen. (I studied a lot and thus I could pass the exam.) |
Using these transition words correctly will really strengthen whichever part of your phrase that you emphasize it with:
Particularly, especially, above all | para niños. (That's very dangerous, especially for children.) | |
Especially | en agosto. (We go to the beach very often, especially in August.) | |
Effectively, indeed, actually, really, truly | , los estudiantes nuevos no han venido. (Indeed, the new students haven't come.) | |
Effectively, indeed, actually, really, truly | te ves cansado. (You really look tired.) | |
In fact, indeed, as a matter of fact | , nunca he estado allí. (It wasn't me. In fact, I've never been there.) | |
Especially, particularly, mainly | para exportar. (We use them mainly for export.) | |
Indeed | creo que deberías decirle. (Indeed, I think you should tell her.) |
Comparing and contrasting requires lots of transition words in order to flow and make sense:
Like | una vaca. (She's strong like a cow.) | |
Conversely, vice-versa | (He takes care of her and vice-versa.) | |
But | lo compraré. (I don't need it, but I'll buy it.) | |
But | tres. (There weren't two but three.) | |
Although, while, even though, even if | llueva. (We'll go even if it rains.) | |
However, nevertheless, notwithstanding | , no podemos estar juntos. (I love her. However, we can't be together.) | |
Still, even so, nevertheless | , fui a la fiesta. (I was very tired. Still, I went to the party.) | |
However, nevertheless | la semana pasada compró un coche nuevo. (He says he doesn't have any money. However, last week he bought a new car.) | |
Despite, in spite of | la lluvia, fuimos al zoo. (In spite of the rain, we went to the zoo.) | |
On the contrary | , nunca dijo la verdad. (On the contrary, he never told the truth.) | |
Contrary to, as opposed to | lo esperado, ganamos el partido. (Contrary to expectations, we won the match.) | |
By contrast, on the other hand | , cualquier violación del contrato será castigada. (On the other hand, any contract violation shall be punished.) |
Sometimes we need some help transitioning into a concluding statement, which is why these terms can come in handy:
In short, in a nutshell, in summary, in essence | , es uno de los mejores coches del mercado. (In essence, it's one of the best cars in the market.) | |
To sum up | veamos nuestras notas una vez más. (To sum up, we'll look at our notes one more time.) | |
In general | , podemos decir que la campaña no fue un éxito. (In general, we can say the campaign was not a success.) | |
After all, all in all | , seguimos juntos. (All in all, we're still together.) | |
In conclusion | este año ha sido muy bueno. (In conclusion, this has been a very good year.) |
Now that you’ve learned some Spanish transition words, it’s time to test your knowledge! Choose the best option to complete each sentence in the quiz below. To retake the quiz, just refresh the page.
These small but powerful words help us to convey exact meaning we want and sound more fluent, so be sure to practice them!
The best way to learn how to use these Spanish transition words properly is by seeing and hearing them used in context.
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Subject: Spanish
Age range: 16+
Resource type: Assessment and revision
Last updated
16 June 2018
Great essay phrases to use in your A LEVEL SPANISH essay exam (AQA Paper 2) to get those top marks!
Includes the English translation of the phrases. Includes phrases for introductions and conclusions!
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could the price for your lovely notes for the spanish a level be reduced please. maybe you could get more money if more people buy the reduced option?
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To be truly brilliant, an essay needs to utilise the right language. You could make a great point, but if it’s not intelligently articulated, you almost needn’t have bothered.
Developing the language skills to build an argument and to write persuasively is crucial if you’re to write outstanding essays every time. In this article, we’re going to equip you with the words and phrases you need to write a top-notch essay, along with examples of how to utilise them.
It’s by no means an exhaustive list, and there will often be other ways of using the words and phrases we describe that we won’t have room to include, but there should be more than enough below to help you make an instant improvement to your essay-writing skills.
If you’re interested in developing your language and persuasive skills, Oxford Royale offers summer courses at its Oxford Summer School , Cambridge Summer School , London Summer School , San Francisco Summer School and Yale Summer School . You can study courses to learn english , prepare for careers in law , medicine , business , engineering and leadership.
Let’s start by looking at language for general explanations of complex points.
Usage: “In order to” can be used to introduce an explanation for the purpose of an argument. Example: “In order to understand X, we need first to understand Y.”
Usage: Use “in other words” when you want to express something in a different way (more simply), to make it easier to understand, or to emphasise or expand on a point. Example: “Frogs are amphibians. In other words, they live on the land and in the water.”
Usage: This phrase is another way of saying “in other words”, and can be used in particularly complex points, when you feel that an alternative way of wording a problem may help the reader achieve a better understanding of its significance. Example: “Plants rely on photosynthesis. To put it another way, they will die without the sun.”
Usage: “That is” and “that is to say” can be used to add further detail to your explanation, or to be more precise. Example: “Whales are mammals. That is to say, they must breathe air.”
Usage: Use “to that end” or “to this end” in a similar way to “in order to” or “so”. Example: “Zoologists have long sought to understand how animals communicate with each other. To that end, a new study has been launched that looks at elephant sounds and their possible meanings.”
Students often make the mistake of using synonyms of “and” each time they want to add further information in support of a point they’re making, or to build an argument. Here are some cleverer ways of doing this.
Usage: Employ “moreover” at the start of a sentence to add extra information in support of a point you’re making. Example: “Moreover, the results of a recent piece of research provide compelling evidence in support of…”
Usage:This is also generally used at the start of a sentence, to add extra information. Example: “Furthermore, there is evidence to suggest that…”
Usage: This is used in the same way as “moreover” and “furthermore”. Example: “What’s more, this isn’t the only evidence that supports this hypothesis.”
Usage: Use “likewise” when you want to talk about something that agrees with what you’ve just mentioned. Example: “Scholar A believes X. Likewise, Scholar B argues compellingly in favour of this point of view.”
Usage: Use “similarly” in the same way as “likewise”. Example: “Audiences at the time reacted with shock to Beethoven’s new work, because it was very different to what they were used to. Similarly, we have a tendency to react with surprise to the unfamiliar.”
Usage: Use the phrase “another key point to remember” or “another key fact to remember” to introduce additional facts without using the word “also”. Example: “As a Romantic, Blake was a proponent of a closer relationship between humans and nature. Another key point to remember is that Blake was writing during the Industrial Revolution, which had a major impact on the world around him.”
Usage: Use “as well as” instead of “also” or “and”. Example: “Scholar A argued that this was due to X, as well as Y.”
Usage: This wording is used to add an extra piece of information, often something that’s in some way more surprising or unexpected than the first piece of information. Example: “Not only did Edmund Hillary have the honour of being the first to reach the summit of Everest, but he was also appointed Knight Commander of the Order of the British Empire.”
Usage: Used when considering two or more arguments at a time. Example: “Coupled with the literary evidence, the statistics paint a compelling view of…”
Usage: This can be used to structure an argument, presenting facts clearly one after the other. Example: “There are many points in support of this view. Firstly, X. Secondly, Y. And thirdly, Z.
Usage: “Not to mention” and “to say nothing of” can be used to add extra information with a bit of emphasis. Example: “The war caused unprecedented suffering to millions of people, not to mention its impact on the country’s economy.”
When you’re developing an argument, you will often need to present contrasting or opposing opinions or evidence – “it could show this, but it could also show this”, or “X says this, but Y disagrees”. This section covers words you can use instead of the “but” in these examples, to make your writing sound more intelligent and interesting.
Usage: Use “however” to introduce a point that disagrees with what you’ve just said. Example: “Scholar A thinks this. However, Scholar B reached a different conclusion.”
Usage: Usage of this phrase includes introducing a contrasting interpretation of the same piece of evidence, a different piece of evidence that suggests something else, or an opposing opinion. Example: “The historical evidence appears to suggest a clear-cut situation. On the other hand, the archaeological evidence presents a somewhat less straightforward picture of what happened that day.”
Usage: Used in a similar manner to “on the other hand” or “but”. Example: “The historians are unanimous in telling us X, an agreement that suggests that this version of events must be an accurate account. Having said that, the archaeology tells a different story.”
Usage: Use “by contrast” or “in comparison” when you’re comparing and contrasting pieces of evidence. Example: “Scholar A’s opinion, then, is based on insufficient evidence. By contrast, Scholar B’s opinion seems more plausible.”
Usage: Use this to cast doubt on an assertion. Example: “Writer A asserts that this was the reason for what happened. Then again, it’s possible that he was being paid to say this.”
Usage: This is used in the same way as “then again”. Example: “The evidence ostensibly appears to point to this conclusion. That said, much of the evidence is unreliable at best.”
Usage: Use this when you want to introduce a contrasting idea. Example: “Much of scholarship has focused on this evidence. Yet not everyone agrees that this is the most important aspect of the situation.”
Sometimes, you may need to acknowledge a shortfalling in a piece of evidence, or add a proviso. Here are some ways of doing so.
Usage: Use “despite this” or “in spite of this” when you want to outline a point that stands regardless of a shortfalling in the evidence. Example: “The sample size was small, but the results were important despite this.”
Usage: Use this when you want your reader to consider a point in the knowledge of something else. Example: “We’ve seen that the methods used in the 19th century study did not always live up to the rigorous standards expected in scientific research today, which makes it difficult to draw definite conclusions. With this in mind, let’s look at a more recent study to see how the results compare.”
Usage: This means “on condition that”. You can also say “providing that” or just “providing” to mean the same thing. Example: “We may use this as evidence to support our argument, provided that we bear in mind the limitations of the methods used to obtain it.”
Usage: These phrases are used when something has shed light on something else. Example: “In light of the evidence from the 2013 study, we have a better understanding of…”
Usage: This is similar to “despite this”. Example: “The study had its limitations, but it was nonetheless groundbreaking for its day.”
Usage: This is the same as “nonetheless”. Example: “The study was flawed, but it was important nevertheless.”
Usage: This is another way of saying “nonetheless”. Example: “Notwithstanding the limitations of the methodology used, it was an important study in the development of how we view the workings of the human mind.”
Good essays always back up points with examples, but it’s going to get boring if you use the expression “for example” every time. Here are a couple of other ways of saying the same thing.
Example: “Some birds migrate to avoid harsher winter climates. Swallows, for instance, leave the UK in early winter and fly south…”
Example: “To give an illustration of what I mean, let’s look at the case of…”
When you want to demonstrate that a point is particularly important, there are several ways of highlighting it as such.
Usage: Used to introduce a point that is loaded with meaning that might not be immediately apparent. Example: “Significantly, Tacitus omits to tell us the kind of gossip prevalent in Suetonius’ accounts of the same period.”
Usage: This can be used to mean “significantly” (as above), and it can also be used interchangeably with “in particular” (the example below demonstrates the first of these ways of using it). Example: “Actual figures are notably absent from Scholar A’s analysis.”
Usage: Use “importantly” interchangeably with “significantly”. Example: “Importantly, Scholar A was being employed by X when he wrote this work, and was presumably therefore under pressure to portray the situation more favourably than he perhaps might otherwise have done.”
You’ve almost made it to the end of the essay, but your work isn’t over yet. You need to end by wrapping up everything you’ve talked about, showing that you’ve considered the arguments on both sides and reached the most likely conclusion. Here are some words and phrases to help you.
Usage: Typically used to introduce the concluding paragraph or sentence of an essay, summarising what you’ve discussed in a broad overview. Example: “In conclusion, the evidence points almost exclusively to Argument A.”
Usage: Used to signify what you believe to be the most significant point, and the main takeaway from the essay. Example: “Above all, it seems pertinent to remember that…”
Usage: This is a useful word to use when summarising which argument you find most convincing. Example: “Scholar A’s point – that Constanze Mozart was motivated by financial gain – seems to me to be the most persuasive argument for her actions following Mozart’s death.”
Usage: Use in the same way as “persuasive” above. Example: “The most compelling argument is presented by Scholar A.”
Usage: This means “taking everything into account”. Example: “All things considered, it seems reasonable to assume that…”
How many of these words and phrases will you get into your next essay? And are any of your favourite essay terms missing from our list? Let us know in the comments below, or get in touch here to find out more about courses that can help you with your essays.
At Oxford Royale Academy, we offer a number of summer school courses for young people who are keen to improve their essay writing skills. Click here to apply for one of our courses today, including law , business , medicine and engineering .
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This essay about the Spanish-American War of 1898 highlights the conflict’s role in transforming the United States into a global power. It discusses the war’s origins in Cuban independence efforts and American expansionist aspirations, noting key events like the sinking of the USS Maine and victories in the Philippines and Cuba. The essay also addresses the war’s consequences, including American imperialism, geopolitical shifts, and its impact on U.S.-Latin American relations, particularly through the Platt Amendment.
How it works
Spanish-american Wojna 1898 of bits and pieces central division in American history, moving people on a world phase how frightful power in a turn 20 – ?? of century. This registration however conflict, what yields to transformation, between the united states and Spain tucked in a fuel convergence of American aspirations for expansion and Cuban hot fight for independence from the Spanish colonial rule.
Originates from Kuby, where longstanding will arise up against Spanish plenary powers boiled during years, war stocked substantial American sympathy, as notifications of Spanish atrocities develop through Medias.
Mysterious decline of Maine of military ship of the USA in Havana get up on an anchor in February 1898, though his detailed reason becomes discussed, became a scream, what comes alive, on the united states, strengthening public sense and putting pressure on President William McKinley, that a decision measure used.
War was directly opened quickly from April to August 1898, leaving deep and far-reaching values. Commodore Brought George over Dewey, U.S. A navy resolutely set defeats to the Spanish fleet in Philippines, providing American influence pacific ocean and marking national appearance how a main player in East Asian businesses.
In the Caribbean theatre, American zmusza, by the way Theodore Roosevelt Rough Riders, attained the known victories in Kubie, especially in Battle dignity of Hill Yuan. These successes separated efficiency America modernized military and propped up national pride. Agreement of Paris in December 1898 formally sheathed the sword, giving control of the states, united above Puerto Rico, Guam, and by Philippines, while Cuba acquired independence from Spain.
Consequence of War of Spanish-american was reflected how inwardly, so and international. Inwardly, a conflict impelled the wave of American imperialism, that exposed to the doubt traditional isolationism of politician. Debates above joining to Philippines of intensive political conversation, what sparkles, with anty-imperialistami, that argue against actions that they counted contrary to the American ideals of self-determination and constitutional management.
On a global phase, war marked the central moving to geopolitics. The united states appeared how dominant naval power with businesses, what broadens on his distances. Acquisition of territories for example Puerto Rico and Guam gave a kind new the American foreign policy, impelling new considerations in the rule of foreign territories and translating international alliances. In addition, War of Spanish-american had the strong operating on U.S.-Latin mutual relations of American. Implementation of Amendment of Platt in 1901, that set Kub? how U.S. protectorate, underscored the American increase influence in Western Hemisphere. This position of interventionist set a phase for U.S. foreign policy in a region during decades, determining his role how a leader in hemispheres businesses.
In maintenance, Spanish-american Wojna 1898 was a zero hour, that moved the states united in global prominent position, giving a kind new how his domestic policy, so and his role in international businesses. While shortly in motion, the deep consequences of war influenced debates on imperialism, national identity, and American position of development in the world. As people entered the new era of global obligation, the inheritance of War of Spanish-american prolonged to form his place in a global order.
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In a series of conversations with Merve Emre at Wesleyan University, some of today’s sharpest working critics discuss their careers and methodology, and are then asked to close-read a text that they haven’t seen before. The Review is collaborating with Lit Hub to publish transcripts and recordings of these interviews, which across eleven episodes will offer an extensive look into the process of criticism.
While I hesitate to use the word “delicious” to describe anything other than food, Carina del Valle Schorske writes delicious essays. One in particular, which won a 2021 National Magazine Award, is about Covid-19 grief and postapocalyptic dance floors . “In Plato’s ‘Protagoras,’ Socrates argues that dancing girls have no place in philosophical gatherings,” she writes. She proceeds to prove Socrates wrong by weaving together social dancing, journalism, and a philosophy of visibility. Another essay, a profile of the rapper and singer Bad Bunny that appeared in both English and Spanish, does what the ideal profile should do: situates an enigmatic, alluring, and successful cultural figure in a particular time, place, genre, and language. It provides us with not only an account of a person, but a panoramic view of history.
Carina received her Ph.D. in English and comparative literature from Columbia University. Her writing has appeared in The Believer , The Point , Virginia Quarterly Review , and The New York Times Magazine , where she is a contributing writer, and she is currently at work on her debut collection of essays, The Other Island .
Most people in this audience are college students. How do you get from where they are to where you are now?
There is no one-size-fits-all answer to that question. I do come from a family with where there’s a precedent for higher education. My father’s father was a professor. But on the other side, my mother’s mother was a singer on Puerto Rican radio before she migrated and worked regular blue-collar jobs her whole life. My mom was a performer in the Nuyorican scene when she was young. During my childhood, I had a sense of the value of artistic and intellectual life.
It was interesting being raised by New York and New Jersey people in the Bay Area. There weren’t really Puerto Ricans or Caribbean people there. The Jewish people were not the same as the Jewish people on the East Coast. So there was a certain sense of cultural dislocation, even though my parents both had strong leftist sensibilities and I was very aware of the Bay Area as the hotbed of a certain kind of radicalism—Black Panthers, César Chavez, ethnic studies—alongside the hippie spiritual stuff going on in my family. I went to Yale on full financial aid. In many ways, it was edifying, and, in many ways, it was very scary.
Why did you find college frightening?
I would say that I arrived in college already exhausted by the class conflicts and pressures of private school, where the fiction that I “deserved” to be there concealed the threat that I must continue deserving, must manifest my gratitude. And at Yale all of that was even more intense; I could see the gears of power turning. I was supposed to be in the Directed Studies program, which is a Great Books curriculum for freshmen who show promise in the humanities. It bothered me that the definition of rigor was submission to this list of European texts that hadn’t changed much since the nineteenth century. So I bailed: I took seminars on Orientalism, on Caribbean intellectuals. Hazel Carby was a big influence—my mom had books by Alice Walker and Toni Morrison at home, but she was my official gateway into Black feminism. Both of my majors, Literature and Ethnicity, Race & Migration, were global and interdisciplinary. Some might argue that I had no disciplinary training over the course of my whole academic career. But I feel grateful for the education that I ended up getting. It forced me to make connections and analogies.
I studied poetry. I wanted to be a poet, but I never quite figured out how to make my poetry accommodate the political and historical questions that seemed urgent to me. I was also interested in a form of writing that could possibly support me as a career. I loved essays. But I graduated into that very difficult economy after the 2008 crash. At that point all the magazine internships were still unpaid. The editorial assistant gigs in New York or D.C. paid $17,000 or $25,000 a year. I wasn’t able to take those jobs even though I was credentialed appropriately. My boyfriend at the time lived in Boston. He was getting a Ph.D. at MIT and he said, “Come live with me for six months and look for a job.”
I thought I wanted to work at Harvard’s Hiphop Archive. I sent them a review I’d written of Lil Wayne’s Tha Carter III . They weren’t hiring, but I had a conversation with the director, Marcy Morgan. She connected me to the editors of Transition , a magazine of decolonial politics and culture that was founded in Uganda in 1961 by Rajat Neogy. In the 1990s, it was revived by Henry Louis Gates and Anthony Appiah. Transition published a lot of interesting experimental work over the years: Bessie Head, V.S. Naipaul, Chinua Achebe, Paul Theroux, interviews with Caetano Veloso and Julie Dash. When I was there, I worked with lots of amazing writers including Zinzi Clemmons and Rachel Kaadzi Ghansah. It was so understaffed, and it didn’t pay much more than those other jobs, but because I was living with my boyfriend, the salary was feasible. On the side, I did some freelance editing and research for a psychoanalyst.
You applied to graduate school while working at the magazine?
That’s right. I started at Columbia five years after I graduated from college. It was also a strategic choice because it seemed like the most financially viable option—benefits, six years of funding, and guaranteed housing for six years in Manhattan, not far from my grandmother’s place in Washington Heights. I started the Ph.D. knowing that being a traditional scholar probably wasn’t a good match for me, but it seemed like the most capacious option for being intellectually self-directed and having time to figure out how I wanted to write. I started publishing during my second year in the program, using some of the materials that I was being introduced to in classes. I wanted to write about what I was reading—D.W. Winnicott, Clarice Lispector, Gwendolyn Brooks—in a voice for the public. My adviser, Saidiya Hartman, saw that I was yearning for a more intense, intimate, populist mode of engagement and sort of gave me her blessing. I started with little magazines like The Point , Boston Review , and Lit Hub. Because I wasn’t relying on those publications for money, I could afford to pursue my own subjects and style.
Almost every one of my guests has either an M.A. or a Ph.D., and has decided, for whatever reason, to take their talents somewhere other than the university. When you knew that you weren’t interested in being a traditional scholar, what kinds of things were you looking for in your education and how might you link that education to the essays that you’ve written—for instance, the essay on postapocalyptic dance floors?
That’s a great question because you wouldn’t think the links are very direct with that essay. But the stuff about Katherine Dunham really came from my oral exams. Katherine Dunham was a dancer, choreographer, scholar, pedagogue, and activist. I was very much inspired by the people I was reading, figures from the middle of the twentieth century like Zora Neale Hurston, Maya Deren, and the Cuban anthropologist Lydia Cabrera. They had relationships to academic institutions, but their interventions were radical and experimental. They were in precarious economic or social positions and were trying to piece together viable careers, to get in where they could fit in. I was supposed to be working on them but I felt more like I wanted to work with them.
It’s interesting that you brought up the midcentury anthropologists. When I read your pieces, I think of a roving, immersive, ethnographic writer who is, for instance, getting drunk with Bad Bunny and analyzing it afterward. I wonder if you could talk about how you position yourself as both a witness and an experiential subject in the essays that you write.
The phrase “participant observer” was helpful to me. The other thing I admire about anthropology, even with its colonial legacy—or in reaction to the colonial legacy—is the idea of writing a position paper. I don’t mean that in the legislative sense, but anthropologists are asked to account for their positionality in relation to what they’re writing about. I don’t think you need to make that the focus of every piece of criticism that you write, but I think that all writers should be taking stock of where their investment comes from. When I’m teaching, I like to present my students with a Gramsci line from his Prison Notebooks that Edward Said quotes in Orientalism : “The starting-point of critical elaboration is the consciousness of what one really is, and is ‘knowing thyself’ as a product of the historical processes to date, which has deposited in you an infinity of traces, without leaving an inventory.” Then he says you have to make that inventory. So it’s about reflexivity, but it’s also about the pleasure of participation and the rewards of intimacy. I know I’m never outside or above the situation I’m trying to describe, and I don’t aspire to be.
So, on the one hand, you’re trying to convey the politics of participation, and on the other hand, the pleasure of participation. There are different ways to make that inventory, and there is perhaps nothing as cringe-worthy as reading a piece in which a subject is strenuously trying to account for their own positionality and doing it in a way that feels either apologetic or insincere.
Or secretly self-aggrandizing. Like they feel obligated to say, Look how terribly privileged I am! And then they move on without letting that alter their analysis at all. It’s annoying.
How do you make sure your writing stays sensitive and reflexive in an intellectually robust way without being—I will use the word again—cringe?
You have to think about what’s relevant to the story. Not every element of your biography is relevant. To me it’s so much about tone. Margo Jefferson always talks about that. Not to draw a parallel with pornography, but you know it when you hear it. Does the tone sound sincere? Does it sound artificial? I feel like there’s a tuning fork inside my ear that helps me figure it out, which may not be a super cerebral answer to your question.
I will get back to the question of tone. In a sense, it’s a little unfortunate that you brought it up now because it would’ve been a nice pivot to the object that I’m going to give you. But I have one question to ask before we get to the object. The ways that you act as a participant observer are tremendously expansive. You engage with multiple people, sites, objects, and histories, all layered onto one another. Perhaps the most striking calibration that you attempt in these essays is between the history of individuals and the history of Puerto Rico. C ould you talk a little bit about your national or international, or transnational—whichever word you want to use—commitments?
The world comes to us in a tremendously complex tangle. The norms of contemporary journalism—maybe just journalism, period—insist on the present in a way that is flattening and not true to the thickness of time. In general, and definitely in the US, we are discouraged from historical thinking. Even in terms of what’s going on right now, in Israel and Palestine, you hear people say that referring to the occupation or anything that preceded October 7 is a distraction from the present. That attitude is not going to help us understand the violence of our world order. And it won’t help us transform it. I would say the same about nationalism. It’s not explanatory, and we miss so much if we insist on framing things that way. I come from self-consciously diasporic communities, but even if I didn’t, I hope I would still have enough sense to keep my moral focus on people rather than states.
In terms of Puerto Rico in particular, I know that you’re referencing the Bad Bunny profile, and, to a lesser extent, the dance essay, which does feature many Nuyoricans because we’ve always been creative drivers in the city’s music and dance scenes: mambo, salsa, hustle, hip-hop. With the profile, the fact-checkers wouldn’t let me use the word “nation” or “country” to write about Puerto Rico, even though Bad Bunny himself had used the word “país,” because that’s not Puerto Rico’s official political status. I ended up translating “país” as “homeland,” because another word that Puerto Ricans often use is “patria,” which is more like “fatherland.” I thought “homeland” kind of threaded the needle. But that’s an example of how seemingly small stylistic questions can be fraught with political conflict in American publications.
It’s not like I want to include Puerto Rican History 101 in every essay that I write. In fact, I find that work very thankless and frustrating and annoying. I want readers to have the tools to understand the meaning of a figure like Bad Bunny, but I don’t want to privilege the hypothetical “mainstream” readers who don’t have that context over the readers who do. I think it’s okay—good, actually!—for there to be some friction, some mystery. You said “layered” and that’s what I strive for.
I want to go back to what you said about having a tuning fork in your ear. I do not think of myself as a good listener of music. I’m good at listening to other people, I think, but I’m not a good listener of music, and I don’t even know what I mean when I say that exactly. I’m wondering if you could help us listen to something. I’ve previously given people texts to read or photographs to look at, but I was hoping that you could help us figure out how to listen to an object with an eye to making exactly the kind of argument that you have been detailing.
Do you recognize the object?
It’s “Yo Perreo Sola” by Bad Bunny—the lead single of the album that was out when I interviewed him, YHLQMDLG . It wasn’t my favorite track.
How does one begin to listen? I realize this is difficult because unlike having a text in front of you, the experience is over.
The first thing that I’m registering, always, is how the music makes me feel in my body. And this is a dance song.
That is already an interesting genre distinction to me. In our house, there are only two kinds of songs: there are jams and there are bangers. But you have a different kind of generic setup in your mind?
Yes. I’m interested in this typology of genre. It’s a dance song if I want to dance to it, which is maybe a simple definition. But this song is also making a claim about dance. The chorus is about “perreo”—twerking is not a perfect analogy, because “perreo” turns the word “dog” into the verb “perrear.” In the classical vision, the woman is maybe pinning the man to the wall with her butt. But on this song there’s a woman’s voice saying, “I do this by myself. I don’t need you.”
The genre judgement also has to do with a musical genealogy. When I first heard the song, with its quasi-feminist message, I immediately thought of “Yo Quiero Bailar” by Ivy Queen. Ivy Queen’s from the previous generation, sort of the Celia Cruz of reggaeton—the only girl who got any respect in that boys’ club. With “Yo Quiero Bailar,” she’s talking about how the kind of erotic movement that might happen on a Caribbean dance floor does not automatically imply consent for activities elsewhere. She wants to grind, she wants to sweat, but that doesn’t mean she wants to fuck. So for me, the message of “Yo Perreo Sola” feels derivative. And the sonics don’t make up for that.
On the one hand, you draw a distinction between what you feel like the song makes you want to do—the affective or embodied response to it—and, on the other hand, hearing the beats that plug the song into a whole history of genre. All you need to hear is the title of the song repeated to extract that generic history. Then, you can make a judgment. Is that all happening at the same time or is it sequential?
I always try to notice what my first reactions are, but I don’t privilege them too much, because music is a repetitive form. I guess these days you can “repeat” most anything. But with music, I think there’s an invitation to repeat. I’m interested in how my thoughts and feelings continue to evolve through multiple listens.
When I was getting my Ph.D., I taught freshman comp, and I would sometimes tell my students, “Feeling is thinking and thinking is feeling.” What I mean by “feeling is thinking” is that feelings are a useful starting point for understanding: you notice your feelings and then there’s an opportunity to step back and try to analyze where they’re coming from. Like, why am I angry? Why am I bored? And then “thinking is feeling”: when you experience yourself making a rational claim or critical judgment, you should inquire into the emotions that might be lurking under the surface of “thought.”
How do you land on the feeling or thought that this is a boring dance song? You offered a conceptual justification: It’s already been done, and the quasi-feminist message of it is not new. But when I think of a boring dance song, it’s one that makes me not want to dance.
Totally. It’s just as much rooted in my body as it is in a discourse analysis of the song’s freshness. I find the beat on “Yo Perreo Sola” a little frantic, and I don’t like the EDM escalation around the chorus. My sweet spot for dancing is more mid-tempo. And I prefer songs where you get a bunch of different beat switches, a super mix like “Safaera.” Those kinds of songs call back to salsa classics that are rooted in jazz and other Black improvisational traditions where there are long percussion breaks and polyrhythms.
But there’s still some pleasure for me in “Yo Perreo Sola.” It really developed another meaning in quarantine: the song came out in the summer of 2020, when we were all at home dancing on our own. There was something fun about that.
We haven’t really talked about the words. You’ve talked about the beat, the rhythm, and the callback to other songs in the same genre or subgenre. Where do lyrics come in? I have a recurring argument with my husband who hears rhythm first and doesn’t pay any attention to lyrics. I often only hear lyrics, and I’m quite dismissive based on lyrics and lyrics alone. Do you pay attention to lyrics in the same way you pay attention to words as a translation?
That’s funny, I have a similar conflict with my mother. She’s like, “You’re always paying attention to lyrics!” I don’t think that’s true exclusively, but listening to lyrics definitely made me want to be a writer. I was the kind of teenager that was always on those websites learning the words. But my dad listened to a lot of Bob Dylan and Leonard Cohen. My mom listened to a lot of poetic Latin American singers. I came of age during the mainstreaming of rap as popular music. The voice is one of the instruments and the delivery of the words is one of the instruments. Words are rhythm. So to me, the distinction between words and music doesn’t feel tenable. I’ve always had the strong sense that words, music, and movement emerge together. We’ve disaggregated them in our society, but that’s not how it has to be.
I think a lot about rhythm, delivery, and tone in my own writing, especially when I’m writing about music. I’m allowing the object to influence the way that I’m expressing myself. One of the ways that I can show a reader what I’m writing about is by absorbing and performing some element of it.
Do you try to match your prose to, for instance, the rhythm of a lyric when you’re embedding it in a sentence? Are you trying to imitate or to perform what you’ve absorbed?
I did with the Bad Bunny story. I wanted to be funny. I wanted to be irreverent. I wanted to be slick and sticky. Or when I’m writing about a live performance of Smokey Robinson and Aretha Franklin singing “Ooh Baby Baby” on Soul Train, I want to take on a wistful legato. I want my structure and my sentences to have some of the tender lucidity that I feel there.
Since people can’t have the experience of listening to the music itself, the prose needs to approximate what you would judge its style to be like?
Exactly. There’s a line that people repeat when they want to describe the supposed difficulty of music writing: “Writing about music is like dancing about architecture.” That’s crazy to me, because dancing is about architecture. Dancing is about space. It’s about how we navigate public space and our bodies in relation to one another. Dancing is already about architecture, and writing is about music because words are already a musical phenomenon. It’s not such a big leap to make the connection.
Part of the great joy of listening to music is listening to it with other people. I don’t get as much pleasure listening to something by myself as I do when I listen to something with my kids or my husband, or when I go to a concert. Listening with strangers is its own form of pleasure. How do you think about bringing other people’s experiences into the mix? Surely part of what’s happening when you’re listening in public is that your body is reacting to other bodies, reacting to the music?
I would argue that music is an inherently communal form even when you’re alone—or certainly when I’m alone. I’m thinking about all the other people it’s touched by the time it reaches me. I like to try to find ways to formalize that curiosity. In a profile, I like to look beyond the individual that our neoliberal media system has selected to be the hero. I’m more interested in how and why we collectively made them the hero. And in all my stories, it’s also about the interview practice, about refusing or reaching beyond traditional notions of expertise. Like, your average twentysomething in Puerto Rico has a richer sense of what Bad Bunny means than some musicologist.
When I’m listening to music or writing about a particular piece of music, I’m really trying to listen for how other people listen. If I hear a snatch of music coming from a car on my block, I like to see who’s driving. If I hear something out in public, how are other people reacting? If I’m on Twitter, I’m reading what people are saying about a new album drop. I think it’s fair to say that music is our most popular art form. That’s part of its value. Besides the supreme pleasure that I personally derive. Besides my wish that I could sing or play piano or play guiro. But I can’t. So, here we are.
An axis along which critics arrange themselves is the axis of authority that has, on its one end, the centralization of authority, and on the other, the active seeking or embrace of plurality. Another way to think of it might be as the difference between a centripetal and a centrifugal force in criticism. Have you always sought out that plurality of view? Does it change based on what your object is or where you are in your career as a critic? Were there more anxieties about being an authority figure, having just one voice, one view, one relation of experience?
In general, I’m not interested in a kind of criticism where people retweet it and say, “This is the last word on X or Y. Mic drop.” I’ve never been interested in those kinds of proprietary claims. I’m interested in a form of criticism that really opens up other desires, associations, lines of inquiry—because to me, an object is never exhausted, no matter how many people write about it. But there’s also so much where the idea of authority or expertise barely comes up because critics haven’t seen those objects as worthy of analysis. That’s my sweet spot.
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Carina del Valle Schorske is a contributing writer for The New York Times Magazine . She is at work on her debut collection of essays, The Other Island . (June 2024)
Merve Emre is the Shapiro-Silverberg Professor of Creative Writing and Criticism and the Director of the Shapiro Center at Wesleyan. She is the host of The Critic and Her Publics , a new podcast series produced in partnership with The New York Review and Lit Hub. (April 2024)
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Gov. Jeff Landry of Louisiana signs a bill mandating that the Ten Commandments be displayed in all public classrooms. He says of the legislation, “ I can’t wait to be sued .”
Mr. Landry is sued by 28 organizations, including the American Civil Liberties Union, Amalgamated Atheists of America, the Benevolent and Protective Order of Beelzebubbians, the Spouses of U.S. Supreme Court Justices Neighborhood Welcome Wagon Association, and Liberals for the Prevention of Morality.
The Republican Party responds with a fund-raising email blitz for a new legal defense fund. The subject line reads, “Moses ❤️ Louisiana (and Trump!!!).”
Donald Trump hails Mr. Landry, calling him “the greatest mayor of Louisiana maybe ever.”
“Actually, ever,” he adds.
When President Biden points out that Louisiana is a state, not a city, a Trump spokesman responds with a statement: “Once again, the morally corrupt head of the Biden Marxist Leninist Maoist family crime syndicate has demonstrated its contempt for all residents of Louisiana, or as it will be known in the second Trump term, Holy Land East.”
Speaking before the annual conference of the Evangelical Substitute Teachers Association on the eve of Thursday’s presidential debate against Mr. Biden, Mr. Trump calls the Ten Commandments “my favorite of all the commandments.” In an apparent reference to Moses, he says that “being from New York City,” he “personally knows many, many people named Moe, all of them terrific, and most of them dentists.”
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Try to use the essay phrases in Spanish that you learned in this lesson and write a few example sentences in the comments section! Previous Article. Next Article. Share 0. About the author . Janey. Janey is a fan of different languages and studied Spanish, German, Mandarin, and Japanese in college. She has now added French into the mix, though ...
In this article, we've prepared a list of words that will help you write that Spanish essay without even breaking a sweat. Spanish. English. por lo tanto. therefore. sin embargo. however. rendimiento. performance.
Handy Essay Phrases for Writing a Strong Spanish AP Composition. Starting your essay. Agreeing and disagreeing. Stating an opinion. Supporting an opinion. Contrasting (or comparing) Transitional phrases. Changing topics. Concluding your essay.
What are some useful Spanish connectors for essays? Let's have a look at the ten examples below: 🇪🇸 primero - 🇬🇧 first. 🇪🇸 segundo - 🇬🇧 second. 🇪🇸 el siguiente argumento - 🇬🇧 the next argument. 🇪🇸 finalmente - 🇬🇧 finally, last but not least. 🇪🇸 sin embargo - 🇬🇧 however ...
General Phrases. Finally, I wanted to include a group of useful common phrases that can enrich your essay's vocabulary: • "En realidad" - In reality. • "Actualmente" - Today/Nowadays. • "De acuerdo a…". - According to…. • "Por ejemplo" - For example. • "Cabe recalcar que…". - It is important to ...
5. List Spanish Words and Terms. Since you're writing an essay in Spanish, it's only befitting that you have a list of specific words and terms you want to include in it. Draft a list of terms that are relevant to your essay in Spanish, whether they're reminders in your outline or they're unfamiliar terms that beg to be further researched.
In Spanish, you use a period to separate groups of thousands (e.g. 1450 or 1,450 would be 1.450 in Spanish). Spanish uses the comma as the decimal separator (so 1.5 would be 1,5 in Spanish). ... How to Write an Essay in Spanish. Starting to write essays in Spanish is possibly one of the most challenging tasks for beginner learners.
Expand Your Vocabulary: Learn new Spanish words and phrases regularly to enrich your writing. Try using a Spanish-English dictionary or language-learning app to discover new vocabulary. Read Spanish Texts: Read books, articles, and essays written in this language to familiarize yourself with the language's structure and style. Pay attention to ...
2) Pick an interesting topic. 3) Brainstorm the ideas. 4) Create an introduction. 5) Organize an essay body. 6) Sum up the content. 7) Check content relevance and cohesion. 8) Read for clarity and style. 9) Proofread. Students tend to focus on speaking practice while learning Spanish, so they often neglect writing.
In Spanish, the word 'essay' is ensayo (ehn-SAH-yoh). An ensayo is a short piece of nonfiction, with two main types: research or personal, where you usually do not need to do research. Either way ...
Spanish Linking Words. Spanish linking words, also called connective words, are words and phrases you use to connect ideas in a piece of writing. We connect phrases and clauses within a sentence and sentences and paragraphs when writing, for example, an essay. Two types of linking words exist: Conjunctions. Transition words.
The following transition words help us arrange ideas, events, and reasons according to their order of importance or to the order in which they happened chronologically. al final. in the end. al principio. at/in the beginning or to begin with. antes. before. ante todo. first of all / first and foremost.
For instance, in the list of our Spanish essay example, the word " must-have " is not translated to " debes tener ," as that would be a literal translation. Instead, the phrases " cualidades indispensables " is used, which would be the appropriate term in Spanish. 3. Start writing the body of your essay.
Ace your essay in Spanish! 2. Power Phrases for Your Cover Letter. In Spain, a cover letter goes a long way when applying for a job. Now that so many people have a good education and are well-experienced, showing who you really are in a few paragraphs can turn the tables in your favor. However, try to maintain a formal structure and use ...
In addition to perdón, you can use the word disculpe as a polite way of saying excuse me or pardon me. Disculpe comes from the verb disculpar, ... Spanish Words to Use in an Essay; 🚀 Remove ads. SpanishDictionary.com is the world's most popular Spanish-English dictionary, translation, and learning website. ...
Terms in this set (41) Study with Quizlet and memorize flashcards containing terms like para empezar, en primer lugar, al principio and more.
3.2.3 Writing an essay in Spanish Beginning to write an essay in Spanish is possibly one of the most difficult tasks for beginner learners. Going from single sentences to several paragraphs requires a lot of practice, but there are fixed expressions that can be used to make this process easier.
To emphasize. To explain an idea. To add an idea. To show a result. To contrast and compare. To summarize. Let's see each one of them in detail, to learn how you can easily introduce them in your Spanish speaking and improve your writing too.
List of essays in Spanish. Example essay about family in Spanish. Example essay about discrimination in Spanish. Example essay about violence in Spanish. Example essay about what is life in Spanish. Example essay about peace in Spanish. Example essay about global warming in Spanish. Example essay about myself and my life in Spanish.
Depending on the meaning of your sentence, you'll want to use a different set of transition words to help you with it. They're classified into different groups depending on the resource, but here are the eight types of transition words often referred to: • Time. • Location. • Explanation.
Useful Essay Phrases for A LEVEL SPANISH. Subject: Spanish. Age range: 16+. Resource type: Assessment and revision. File previews. pdf, 44.92 KB. Great essay phrases to use in your A LEVEL SPANISH essay exam (AQA Paper 2) to get those top marks! Includes the English translation of the phrases. Includes phrases for introductions and conclusions!
4. That is to say. Usage: "That is" and "that is to say" can be used to add further detail to your explanation, or to be more precise. Example: "Whales are mammals. That is to say, they must breathe air.". 5. To that end. Usage: Use "to that end" or "to this end" in a similar way to "in order to" or "so".
This is a long list of high-level sentence starters, analysis phrases, idioms and subjunctives that you can use in Spanish essays and speaking exams. This whole list helped me achieve an A* at A Level. Easy to read and amazing for revision. [Show more] Preview 1 out of 3 pages. View example
This essay about the Spanish-American War of 1898 highlights the conflict's role in transforming the United States into a global power. It discusses the war's origins in Cuban independence efforts and American expansionist aspirations, noting key events like the sinking of the USS Maine and victories in the Philippines and Cuba.
While I hesitate to use the word "delicious" to describe anything other than food, Carina del Valle Schorske writes delicious essays. One in particular, which won a 2021 National Magazine Award, is about Covid-19 grief and postapocalyptic dance floors.. "In Plato's 'Protagoras,' Socrates argues that dancing girls have no place in philosophical gatherings," she writes.
"Mid" is an obvious example. I don't think it even qualifies as teenage slang anymore — it's too useful and, by now, too widespread. In my son's usage, things that are mid are things ...
Speaking before the annual conference of the Evangelical Substitute Teachers Association on the eve of Thursday's presidential debate against Mr. Biden, Mr. Trump calls the Ten Commandments ...