Achieving Emphasis in Essay Text

Achieving Emphasis in Essay Text One of the most important aspects of quality essay, article, novel or any other type of paper is catching and retaining reader’s attention.  In order to make sure your  essays or articles are read from top to bottom, I’m going to show you different ways you can achieve emphasis in text. After all, you don’t want your professor, client, or visitor of your blog or website to think the text is boring and stop reading it, right? Catching someone’s attention not  only requires interesting and informative content. You have to know how to properly emphasize certain parts of the text. What I like the most about emphasizing text is that you can do so in numerous ways. This allows you to implement different  essay strategies  while typing. Text devices Back in time, people couldn’t rely on various features in MS Word to achieve visual emphasis in text. In order to accomplish this, they used underlining in the typescript. Then, typesetter in the print shop would use italic font for the underlined words. Even today, one of the most common and easiest ways of emphasizing text is to Italianize or underline the phrase or a single word. With variety of options we have to make certain words of phrases visually stand out, it’s important to use them properly. Here are some examples. Italics – subtle stressing of the words, gives light emphasis Underline – used for emphasis of complete phrase, more insistent than italics Bold – used to make strong impact and create tension Size – bigger fonts stand out, while small fonts recede. But, you should be careful not to mix font sizes too much or text would look unappealing. Ideally, use bigger fonts for subheadings and chapter titles, while standard font size should be used for text Punctuation! – for example, exclamation mark adds extra emphasis to the entire sentence, but you should use them sparingly. When used excessively, exclamation marks don’t achieve desired effect Bullet points – drawing attention to important information to demonstrate key facts and it’s more appealing at the same time Color – brighter colors stand out more and they are used for achieving bigger impact while darker color are more subtle. Arrangement and choice of words Besides various text devices, you can let your readers know that what follows in text is very important by using specific words to express the emphasis e.g. particularly, crucially, additionally, above all, most importantly etc. You can also create a powerful emphasis by repeating certain words or phrases e.g. keywords. This also improve a  cohesive effect. Naturally, you should keep this effect moderate and strive not to repeat certain phrases too much. Otherwise, accentuating some parts of the text wouldn’t cause desired impact on reader. Example: There are couples who dislike one another furiously for several hours at a time; there are couples who dislike one another permanently; and there are couples who never dislike one another; but these last are people who are incapable of disliking anybody. (George Bernard Shaw) Another way of emphasizing text is to depart from the basic structural patterns of the language. For example, inversion of subject-verb-object pattern into object-subject-verb phrase is a great idea. Example: He was mowing the lawn to chase away the boredom†¦ The lawn he was mowing to chase away the boredom†¦ Ideally, words or phrases you’d like to accentuate should be placed near beginnings or endings of sentences. Moreover, you should never put words you want to emphasize in subordinate clauses! Example: You can’t deny the fact that technology has made a powerful impact onto business world today. Undeniably, the impact of technology onto business world today has been powerful. Other ways to achieve emphasis Use a question after series of statements Place subordinate clause in front of main clause Include short sentences (using variety sentences makes text seem choppy, but including them from time to time keeps readers’ attention and emphasizes particular part of text) Use contrasting words or phrases. When adding emphasis to text you’re writing you should avoid some common traps that come with desire to make something stand out. Always bear in mind that moderation is the key and make sure you don’t overdo it. Furthermore, consistency is the key particularly when using visual tools to emphasize the text. I made sure the article contains easy tips and tricks that you can easily implement into your future tasks or school projects. With these simple hacks, you’ll keep readers’ attention and make your work visually appealing at the same time. Isn’t that what we all want anyway?

USS Leyte (CV-32) - Korean War Aircraft Carrier

USS Leyte (CV-32) - Korean War Aircraft Carrier USS Leyte (CV-32) - Overview: Nation:  United States Type:  Aircraft Carrier Shipyard:  Newport News Shipbuilding Laid Down:  February 21, 1944 Launched:  August 23, 1945 Commissioned: April 11, 1946 Fate:  Sold for scrap, 1970 USS Leyte (CV-32) - Specifications: Displacement:  27,100 tons Length:  888 ft. Beam: 93 ft. (waterline) Draft:  28 ft., 7 in. Propulsion:  8 Ãâ€" boilers, 4 Ãâ€" Westinghouse geared steam turbines, 4 Ãâ€" shafts Speed:  33 knots Complement: 3,448 men USS Leyte (CV-32) - Armament: 4 Ãâ€" twin 5 inch 38 caliber guns4 Ãâ€" single 5 inch 38 caliber guns8 Ãâ€" quadruple 40 mm 56 caliber guns46 Ãâ€" single 20 mm 78 caliber guns Aircraft: 90-100 aircraft USS Leyte (CV-32) - A New Design: Designed in the 1920s and early 1930s, the US Navys  Lexington- and  Yorktown-class aircraft carriers were planned to fit within the restrictions set forth by the  Washington Naval Treaty. This placed limitations on the tonnage of different types of warships as well as capped each signatory’s total tonnage. These types of rules were furthered by the 1930 London Naval Treaty. As world tensions increased, Japan and Italy left the treaty structure in 1936. Upon the collapse of this system, the US Navy began work on a design for a new, larger class of aircraft carrier and one which utilized the lessons learned from the  Yorktown-class. The resulting design was longer and wider as well as incorporated a deck-edge elevator system. This had been used earlier on  USS  Wasp  (CV-7). In addition to carrying a more sizable air group, the new class mounted a greatly enlarged anti-aircraft armament. Work began on the lead ship,  USS  Essex  (CV-9) on April 28, 1941. With the US entrance into  World War II after the  attack on Pearl Harbor, the  Essex-class rapidly became the US Navys standard design for fleet carriers. The first four ships after  Essex  followed the types original design. In early 1943, the US Navy made multiple changes to improve future vessels. The most noticeable of these alterations was the lengthening the bow to a clipper design which allowed the addition of two quadruple 40 mm mounts. Other changes included moving the combat information center below the armored deck, improved aviation fuel and ventilation systems, a second catapult on the flight deck, and an additional fire control director. Though known as the long-hull  Essex-class or  Ticonderoga-class by some, the US Navy made no distinction between these and the earlier  Essex-class ships. USS Leyte (CV-32) - Construction: The first ship to move forward with the revised  Essex-class design was USS  Hancock  (CV-14) which was later re-dubbed Ticonderoga.   It was followed by additional vessels including USS Leyte (CV-32).   Laid down on February 21, 1944, work on Leyte began at Newport News Shipbuilding.   Named for the recently fought Battle of Leyte Gulf, the new carrier slid down the ways on August 23, 1945.   Despite the end of the war, construction continued and Leyte entered commission on April 11, 1946, with Captain Henry F. MacComsey in command.   Completing sea trails and shakedown operations, the new carrier joined the fleet later that year. USS Leyte (CV-32) - Early Service: In the fall of 1946, Leyte steamed south in consort with the battleship USS Wisconsin (BB-64) for a goodwill tour of South America.   Visiting ports along the continents western coast, the carrier then returned to the Caribbean in November for additional shakedown and training operations.   In 1948, Leyte received a compliment of new Sikorsky HO3S-1 helicopters before moving to the North Atlantic for Operation Frigid.   Over the next two years it participated in several fleet maneuvers as well as mounted an air power demonstration over Lebanon to help deter a growing Communist presence in the region.   Returning to Norfolk in August 1950, Leyte quickly replenished and received orders to move to the Pacific due to the beginning of the Korean War. USS Leyte (CV-32) - Korean War: Arriving at Sasebo, Japan on October 8, Leyte completed combat preparations before joining Task Force 77 off the Korean coast.   Over the next three months, the carriers air group flew  3,933 sorties and struck a variety of targets on the peninsula.   Among those operating from Leytes deck was Ensign Jesse L. Brown, the US Navys first African American aviator.   Flying a Chance Vought F4U Corsair, Brown was killed in action on December 4 while supporting troops during the Battle of Chosin Reservoir.   Departing in January 1951, Leyte returned to Norfolk for an overhaul.   Later that year, the carrier began the first of a series of deployments with the US Sixth Fleet in the Mediterranean.    USS Leyte (CV-32) - Later Service: Re-designated an attack carrier (CVA-32) in October 1952, Leyte remained in the Mediterranean until early 1953 when it returned to Boston.   Though initially selected for deactivation, the carrier received a reprieve on August 8 when it was selected to serve as an anti-submarine carrier (CVS-32).   While undergoing conversion to this new role, Leyte suffered an explosion in its port catapult machinery room on October 16.   This and the resulting fire killed 37 and injured 28 before it was extinguished.   After undergoing repairs from the accident, work on Leyte moved forward and was completed on January 4, 1945.    Operating from Quonset Point in Rhode Island, Leyte commenced anti-submarine warfare activities in the North Atlantic and Caribbean.   Serving as flagship of Carrier Division 18, it remained active in this role for the next five years.   In January 1959, Leyte steamed for New York to begin an inactivation overhaul.   As it had not undergone the major upgrades, such as SCB-27A or SCB-125, that many other Essex-class ships had received it was deemed surplus to the fleets needs.   Re-designated as an aircraft transport (AVT-10), it was decommissioned on May 15, 1959.   Moved to the Atlantic Reserve Fleet in Philadelphia, it remained there until being sold for scrap in September 1970.   Selected Sources DANFS: USS Leyte (CV-32)NavSource: USS Leyte (CV-32)Hull Number: USS Leyte (CV-32)

Left Bank Group Analysis Research Paper Example | Topics and Well Written Essays - 1250 words

Left Bank Group Analysis - Research Paper Example Likewise, as with many movements, the New Wave movement was something of a conscious rejection with regards to the subject matter, stylistics, self-actualization, and experimentation that seemed to be so devoid in the periods prior to the development and nominal success that the New Wave movement was ultimately able to engender. Furthermore, like so many other artistic movements throughout history, the full scope of the importance contributions that the New Wave movement brought to cinematography filmmaking were of course not realized completely or appreciated accordingly during the time that they were being developed. Nevertheless, although many aspects of the New Wave movement were so experimental that they existed only within the confines of the current time in which they were developed, many of the experimental techniques and new ideas with which these filmmakers sought to integrate continue to have found measurable effect on some talk to the current Europe. Accordingly, this bri ef analysis will seek to understand, identify, and draw inference on the means by which one such group of influential French filmmakers from this New Wave movement contributed to a more complete and nuanced understanding of filmmaking is the hope of this author that such an analysis will engage the reader with the lasting importance that this group of film makers continues to exhibit. As such, the group to be analyzed will be that which was dubbed â€Å"Left Bank†. ... nown, were referred to as the Right Bank; likewise, the group of filmmakers which will be analyzed herein came to be known as the Left Bank (Reeder 63). This was not only a reference to the geographical meaning of where these individuals hailed from within Paris, but also a thinly veiled allusion to the political views espoused by the latter group. One of the greatest differentials came to be seen between the right bank as compared to the Left Bank directors was with regards to the level and approach that these Left Bank directors viewed the relationship between cinema and art. Whereas more traditional numbers of the New Wave movement saw literature and other art forms distinctly separate from cinematography, the Left Bank directors saw them as one and the same attempt to incorporate many of the avant garde and cutting edge techniques and ideas that were being pioneered within the art world within the cinematography that they created (Schwartz 147). However, as much as one might seek to distinguish the Left Bank New Wave filmmakers from their other counterparts within the New Wave movement, the reality of the situation was that they were oftentimes almost identical with regards to the approach to cinematography that they made. In reality, both schools of thought sought integrate a high level of modernism within current cinematography; the only means differential and/or to supreme that existed with regards to this modernism was where the inspiration for it could ultimately be drawn. To the Left Bank filmmakers, this inspiration was available from both existing and previous arts. Regardless of the level to which critics may seek to portray these groups as being in opposition to one another, the fact of the matter is that there was never any ill will between either the