There are two general formats for compare and contrast papers:
Description: Two items linked by characteristics or attributes.
You can use a Double Cell Diagram (see for example the bubble graphic organizer at ) and start making your own for free online at or at . Or you can use the simple chart, available for download above.
Fran Hooker & Kate James, Webster University Writing Center, 2007
Be sure to use the appropriate terminology and skills from the course readings and specific to the discipline of art history. For example, in introductory art history courses, students are required in their exam essays typically to compare and contrast different works demonstrating not only their learned skills of formal visual analysis, but also their ability to place works and monuments in a historical context. This means comparing works not only in terms of the differences in their formal elements, but also in terms of the socio-political, theological, regional or cultural reasons behind those differences.
First sentence: I eat ice cream slowly.
In the following paragraph from “American Space, Chinese Place, ” writer Yi-Fu Tuan fully discusses space in America before turning to an analysis of place in China:
Second sentence: I eat cotton candies slowly.
Below is a sample of an introduction from a literary compare and contrast paper written by student Kate James: (Some of the terms she uses to indicate comparison and contrast are in boldface.)
writing dbq essays ap essay examples
Americans have a sense of space, not of place. Go to an American home in exurbia, and almost the first thing you do is drift toward the picture window. How curious that the first compliment you pay your host inside his house is to say how lovely it is outside his house! He is pleased that you should admire his vistas. The distant horizon is not merely a line separating earth from sky, it is a symbol of the future. The American is not rooted in his place, however lovely: his eyes are drawn by the expanding space to a point on the horizon, which is his future. By contrast, consider the traditional Chinese home. Blank walls enclose it. Step behind the spirit wall and you are in a courtyard with perhaps a miniature garden around a corner. Once inside his private compound you are wrapped in an ambiance of calm beauty, an ordered world of buildings, pavement, rock, and decorative vegetation. But you have no distant view: nowhere does space open out before you. Raw nature in such a home is experienced only as weather, and the only open space is the sky above. The Chinese is rooted in his place. When he has to leave, it is not for the promised land on the terrestrial horizon, but for another world altogether along the vertical, religious axis of his imagination.