Composition

Prepared By: Prof Jalid

S2: 2023-2024

Lesson One: General Introduction

What is composition?

Composition is the art of expressing one’s thoughts by means of written language. It is

also defined as an intellectual creation, such as a piece of writing, a brief essay, etc. (Merriam
Webster).

A composition (from the Latin "to put together") is the way a writer assembles words
and sentences to create a coherent and meaningful work. Composition can also mean:

A) the activity of writing,

 B) the piece of writing itself,
C) the nature of the subject of a piece of writing,
D) and the name of a college course assigned to a student.

All compositions are included within either prose or poetry. Prose refer to all those in
which a natural method of expression and a natural order are employed, without reference to
the recurrence of certain sounds, or any exact arrangement of syllables. Whereas, poetry is a
literary work in which the expression of feelings and ideas is given intensity by the use of
distinctive style and rhythm; that is, all those writings there is a departure from the natural
order, or mode of expression; or in which there is a recurrence of certain sounds, or an exact
arrangement of syllables.

In this lesson, we shall proceed to consider prose. Writers and teachers have been
dealing with ways to classify forms and modes of writing. After long attempts, they ended up
with four categories of writing that still make up the mainstream of Composition classes:
Description, Exposition, Narration, and Argumentation.

Types of Composition Writing:

The four classical types of composition (description, narration, exposition, and

argumentation) are not categories, per se. They would almost never stand alone in a piece of
writing, but rather are best considered modes of writing, pieces of writing styles that can be
combined and used to create a whole. That is to say, they can inform a piece of writing, and
they are good starting points for understanding how to put a piece of writing together.

Let us start by defining each one separately:

Description:

A description, or descriptive writing, is a statement or account that describes

something or someone, listing characteristic features and significant details to provide a
reader with a portrayal in words. Descriptions are set in the concrete, in the reality of an
object as a representation of a person, place, or thing in time. They provide the look and feel
of objects, with as many details as the writer would like. Description consists in noting down
the characteristics or peculiarities of any particular object. To write a description, the writer
has to be familiar with what he is attempting to describe.
 Exposition:

Exposition, or expository writing, is the act of expounding or explaining a person,

place, thing, or event. The writer’s purpose is not to just describe something, but to give it a
reality, an interpretation, his ideas on what that thing means. In some respects, the writer is
laying out a proposition to explain a general notion or abstract idea of his subject.

Narration:

A narration, or narrative writing, is a personal account, a story that the writer tells his
or her reader. It can be an account of a series of facts or events, given in order and
establishing connections between the steps. It can even be dramatic, in which case the writer
can present each individual scene with actions and dialog. The chronology could be in strict
order. The writer can also include flashbacks. Tales, novels, romances, history, biographies,
travels and voyages are also embraced as principal divisions under the general head of
narration.

Argumentation:

Argumentation, also called argumentative writing, an argumentation is basically an

exercise in comparing and contrasting. It is the methodological presentation of both sides of
an argument using logical or formal reasoning. The end result is formulated to persuade why
thing A is better than thing B. What the writer means by ‘better’ makes up the content of his
arguments. The writer provides an argumentative writing by presenting his/ her way of
thinking, comparing different ideas about a subject, putting further questions and trying to
give answers, establishing logical viewpoints about an idea… To conclude an argumentative
writing is a composition in which the writer lays down a proposition, and attempts to persuade
others that it is true.

How to undertake all these types of composition writings?

Here some practical steps:

1. Brainstorming (generating ideas): the writer thinks about what he is going to write
about; that is, he/ she puts down his/ her own ideas in a kind of freewriting. This
step is about looking for crucial ideas through research, freewriting or finding out
arguments
 2. Outlining (getting ready): the writer puts down the framework of his/ her
composition according to some order: sentences, paragraphs, chapters, etc. This
step is about organizing thoughts and constructing a clear thesis.
3. Drafting (putting pen to paper): by using brainstorming and outlining, the writer
starts writing his/ her composition. He/ she should not worry about mistakes,
connections, structures, punctuations, etc. This step delve into a logically engaged
writing.
4. Editing (perfecting your work): after a break, the writer has to read his/ her draft,
correct mistakes and look at his/her draft structure, organization… He/ she has to
smooth out the transition: linking words, for instance. This step engages into
reviewing, refining and assessing coherence, language, evidence, etc.
5. Proofreading (finalizing the product): the writer should generally check his/
composition for a final reading in terms of grammar, syntax, spelling, etc. This
stage is concerned with completing the thesis.

Conclusion:

What these four classical modes do is to provide beginner writers with a way to
purposefully direct their writings, a structure on which to form an idea. However, they can
also be limiting. They have to use the traditional modes of composition as tools to gain
practice and direction in their writings, but must remember that they should be considered
starting points rather than rigid requirements.

Part One: Description

Lesson Two: General Introduction

- Read the text in the Annex One below:

- Punctuate the above descriptive text; observe its characteristics carefully. Use
capital letters where they are required.
- In what does this description consist?

Lesson Three: Descriptive Subjects:

A descriptive composition writing is frequently called to describe three subjects:

I. Material objects; such as houses, ships, etc.

II. Natural scenery.

III. Persons.
 I. Description of Material Objects:

In describing the first of these classes, material objects, the following heads will
generally be found appropriate:

1. The place where the object was seen; the time when it was made, invented, or
discovered; its history.
2. The purpose for which it was designed.
3. The materials of which, and the persons by whom, it was made.
4. Its form, size, and general appearance.
5. Comparison with any other object which it may resemble.
6. The effects it has produced.
7. The feelings excited by beholding it.

All of these guidelines may not be appropriate in each case, but a selection may be
made of them.

Exercise:

Based on these guidelines, describe your faculty.

II. Description of Natural Scenery:

In describing natural scenery, the following guidelines may be adopted:

1. The circumstances under which it was seen; whether at sunrise, at noon, or by

moonlight; the effect, etc.

2. The natural features of the scene; whether flat or hilly; fertile or barren, etc.
3. The improvements made by man; whether well cultivated; whether any buildings
are in sight; if so, describe them.
4. The figures in the scene; if any human beings, describe them.
5. The neighbouring inhabitants; their character, peculiarities, etc.
6. The sounds that meet the ear ; as, the murmur of a stream, the noise of a waterfall,
the rustling of the leaves under the influence of the wind, the lowing of cattle, the
 barking of dogs, the singing of birds, the cries of children; the somids of industry,
such as the noise of machinery, etc.
7. The distant views.
8. A comparison with any other scene which it may resemble.
9. The historical associations connected with the scene.
10. The feelings which the view awakens in the mind.

Is it necessary for these heads to be considered in the order given above?

No; they may be taken in any order that may suit the convenience of the student.

Exercise:

Based on these guidelines, describe Ain Asserdoune.

III. Description of Persons:

Description of people is frequently used in biographical sketches, travels, history, and

novels. Depicting people, the following headlines may be needed:

1. Person; whether tall or short, fleshy or thin.

2. Dress.
3. Face, features, expression.
4. Manners; whether graceful, generous, awkward, active, lazy, arrogant, or kind.
5. Any peculiarity of thinking and/ or appearance.

These elements may not be considered in the order given above.

Exercise:

Describe a person dear to you, using the above-mentioned guidelines.

Here is an easy way to plan your descriptive composition planner:

My Question/ Title: _________________________________________________

Introduction:
 Para. One: Idea One

Detail One:
Detail Two:
Detail Three:

Para. Two:

Detail One:
Detail Two:
Detail Three:

Para. Three:

Detail One:
Detail Two:
Detail Three:

Conclusion:

This plan may also be adopted for other types of composition.

Lesson Four: How to Structure a Descriptive Paragraph

Introduction:

In order to write good compositions, students are first called to master sentence
writing which requires a good knowledge of clauses, and then the paragraph (and next the
essay). Between the sentence and the complete piece of writing lies the paragraph, which
seems to cause a great deal of trouble to many of them.
 A paragraph consists of some sentences (the number may vary, of course) focused on
one idea. That idea can be hard to define as it might be much focused, or it might be a little
vague, but if you start to stray from that one idea, you need to start a new paragraph. The best
way to keep from being confused is to bring in some creative ideas through brainstorming and
drafting.

How to Structure a Paragraph:

A paragraph needs a beginning, middle, and end. More specifically, it needs the
following steps:

1. A topic sentence: a very general sentence which explains the main idea of
the paragraph,
2. Supporting sentences: any number of sentences which provide details or
examples to support or explain the main idea,
3. Concluding sentence: one final sentence to summarize and, possibly,
further connect the topic and supporting sentences.

Note that this could vary significantly. Not all sentences have a concluding sentence.

Let us take each step into consideration:

1. Topic sentence:

This sentence is usually the first in a paragraph and it will present the main idea in
general or vague terms. It should not include any specific information.

2. Supporting Sentences:

They are the core of the paragraph. They provide the necessary details to support the
idea expressed in the topic sentence. They may include:

• Explanation, examples or descriptions,

• Facts, figures, or other details,  Story, ideas, or degrees of
importance.
3. Concluding Sentence:

In this final sentence, the students need to restate the main idea without repeating any
part of the paragraph. They will want to allude to or reference ideas from the supporting
sentences, while paraphrasing their topic sentence. So, this sentence must relate to the rest of
the paragraph. It should restate, summarize and reinforce the main idea of the paragraph.

Goals to Seek from Structuring a Paragraph:

1. Unity:

Every sentence in a paragraph should support the main idea expressed in the topic
sentence. Unity means:

• Each supporting sentence develops and supports the topic sentence,

• All sentences are relevant to the whole paragraph, and even to the overall
composition.
2. Coherence:

It means that all ideas of the paragraph should be linked and flow logically from one to
the next. There should be no jumps or gaps in the flow of sentences. Therefore, their order
should be of utmost importance.

Example:

Beni Mellal is famous for several amazing natural features. First, nature lovers will
appreciate the views of the surrounding mountains and the magnificent cedar and oak forests.
Second, It has numerous caves and chasms which are the delight of archaeologists. Third, the
Aïn Asserdoune spring, with its flora and water, is a very famous place that attracts a large
number of visitors every day. So, the city can be seen as a rich geographic place that offers a
panoramic view every season.

Transitions within Paragraph:

Common Transition Words
Chronological Order Objects in relation to one In order of importance
another
- First Next to However
- Meanwhile In front of Furthermore
- Later Beside As a result
- Afterwards Between In fact
- Finally Behind Yet

Part Two: Narrative Composition

Lesson Five: General Introduction

Definition of Narrative Writing:

 A narrative is defined as a piece of writing that tells a story. Written forms of narration
include most forms of writing: personal essays, fairy tales, short stories, novels, plays,
screenplays, autobiographies, histories, even news stories have a narrative. Narratives may be
a sequence of events in chronological order or an imagined tale with flashbacks or multiple
timelines.

Narrative Elements:

Every narrative is defined and shaped by five elements, which are rarely stated in a
story; they are revealed to the readers in the story in different ways. These elements are:

• The plot is the thread of events that occur in a narrative.

• The setting is the location of the events in time and place.
• The characters are the people in the story who drive the plot, are impacted by
the plot, or may even be bystanders to the plot.
• The conflict is the problem that is being resolved. Plots need a moment of
tension, which involves some difficulty that requires resolution.
• The fifth element is the theme. It is the most important, but is the least explicit.
What is the moral of the story? What does the writer intend the reader to
understand?

Here are some additional questions that clarify the characteristics of a narrative
composition:

- In what does a narration consist?

In giving a detailed account of incidents which have taken place, or which the writer
imagines to have taken place.

- What is a fiction? Is it a narrative?

In a fiction, the above-mentioned elements may have no foundation in fact, but are
created or imagined by the writer.

- According to this distinction, what are the principal divisions of a narrative?

As already mentioned, they are personal essays (biography), fairy tales, short stories,
novels, romances, plays, screenplays, autobiographies, histories, news stories, travels and
voyages…
 In narration, we do not strictly confine ourselves to an account of the incidents. We
may introduce with advantage descriptions of scenes, and of the persons concerned.

In narration, what is particularly necessary lies in the fact that the sentences should be
clear, and the connection between the parts has to be properly maintained?

Exercises:

1. In a few sentences, imagine an end to the story in Text Two in the Annex Two
below.
2. For next week, write a personal story/ account, using the above-mentioned
elements.

Lesson Six: Narrating Fiction and Non-Fiction

 Introduction:

To write original narratives that satisfy their readers, students must integrate the
elements of plot, setting, characters, conflict and theme. They are prepared to investigate these
elements in more depth as they write their own stories. I. Narrating Fiction:

A fairy tale, folktale, myth, legend, novel, or a short story needs in fact to investigate
the plot, setting, characters, conflict and theme.

1. How to craft a plot:

The following steps are necessary:

• Introduction (conflict) incident that tells who the main character is and what she
or he wants,
• Complication incident or incidents that tell how the main character tries to get
what she or he wants,
• Climax incident, or exciting high-point of the story, in which the character
either fails or succeeds at solving the problem,
• Resolution incident, in which the character must face the outcome- satisfactory or
unsatisfactory- of the adventure.

Exercise:

Within The Weekend Thief story (in the Annex Two below), find out the following
elements: introduction incident, complication incident, climax and resolution incident.

2. How to forge a setting:

A setting refers to four elements that are time, place, mood and cultural context. These
elements are as vital to the story as the plot itself or characterisation.

• Time: can refer to the period in which the story takes place. It is either short as one
hour or a day, or long a century or a millennium. Some other time details can be
helpful such as day, night, sunrise/ sunrise, dusk, morning, evening…
• Place: can refer to the geographical or physical location where the events take
place. The place can be either real or fictional. Place details can be useful, such as
street, building, home, work, cafe, plain, mountain, etc.
 • Mood: is the tone given to the story through feelings, such as happiness, humour,
anger, sadness, loneliness, love, calm, danger, adventure…
• Context: shows the way time, place and mood come together to shape the story’s
theme. Details that reflect the society’s cultural, political, social and economic
background(s) can helps forge the story’s context. For instance, language can
reflect such a context.

Exercise:

Describe the setting’s different elements within The Weekend Thief (in the Annex Two
below).

3. How to carve characters:

Character development is the craft of giving a character a personality, depth, and

motivations that make it evolve through a story. Characters are related to each other, but are
distinctive by their appearances, personalities and actions. Each characters should have:

• A motivation/ goal: the character’s driving force to take part within the story’s
events (love, hatred, curiosity, success, etc.),
• A voice: a special language by which a character can be distinguished from
another (mumbling, stuttering, whispering, using standard of vernacular
language, etc.),
• A personality: the whole psychological traits by which a character is defined
and recognized (openness, honesty, loneliness, jealousy, envy, etc.),
• Physical/ bodily picture: physical appearance made up of bodily traits (colour,
eyes, tall, etc.).

Exercise:

How are these character traits revealed within The Weekend Thief (in the Annex Two
below)?

4. How can a conflict be created and developed in a story:

 To create conflict, two elements are needed: a want and an obstacle. The protagonist
(hero) must want something, and there must be an obstacle (the antagonist/ anti-hero) that’s
trying to stop him/her from getting what he/she wants. Here are some general ways to create
and develop a conflict:

a. Create inherently conflicting characters. Your characters should be

sufficiently different, conflicting and discordant so that, even if they’re friends
or lovers, they will constantly and creatively inspire each other during the
event (for instance, a man and a woman, a young man and old man, a mother
and a father, a communist and a capitalist, etc.). Students can create conflicting
characters in an infinite number of ways, via:
 Opposing character traits – e.g., aggressive, argumentative, a meditator,
a conflict avoider;
 Race or nationality (for instance, characters from countries or regions
which traditionally hate one another);  Political or religious or moral
or ethical views;
 Money, social status, upbringing, education, etc.
b. Create inherently conflicting groups. For instance, brothers and sisters, or
boys and girls are bound to clash. As well as conflict between the groups.
c. Give characters conflicting goals. The basis of any story is the hero’s struggle
to achieve a goal that he wants desperately, against an opponent who is
determined to deny it to him. Here are some goals: to survive, escape, win a
contest or battle, become a leader, achieve a destiny, master an art, free a slave
or change the world.

Exercise:

What is the conflict within The Weekend Thief (in the Annex Two below)?

5. How to weave a theme in a story:

The theme is the message of a story. It is what it is about, what it means. For example,
Romeo and Juliet is about two individuals belonging to rival families, falling in love and
dying because of tragic events. But that is not what the story is about. The theme simply
conveys love, fate, family, etc.

A theme is not a question, it’s the answer. The process of exploring the theme in your
story is the journey your characters go on to come to realise this answer. Characters can go
through a sequence of events in order to realize this answer/theme. But how can a theme be
conveyed. Here are some guidelines:

 Show, do not tell: The theme is usually woven into the story through the
actions and experiences of characters.
 Explore multiple perspectives: the theme can be explored through various
perspectives. Each character can interpret the theme in its own way.
 Bring it together: the theme should always be present throughout the story.
Every element of your story, from the plot to characters to setting, ties back to
your theme in some way.
 Use symbolism and imagery: Symbolism and imagery can be powerful tools
for reinforcing your story’s theme. Objects or images that are associated with
the theme should be incorporated into the story. For example, if the theme is
about the passage of time, the writer might use a clock as a symbol.

Exercise:

What is the main theme of The Weekend Thief (in the Annex Two below)?

II. Narrating Non-Fiction:

Non-fiction genres can incorporate the same above-mentioned guidelines, except that
they narrate true stories. Imagination and its measures are avoided while narrating a
biography, a history or a news story. Let us take an example: biography.

A Biography (or a biographical sketch is usually defined as a narration of the principal

events in the life of an individual. It is a description of the person under consideration,
therefore, it can use descriptive features seen in Part One: Description.

A biography is useful, because the lives of the most distinguished men teach us that a
course of uprightness and industry secures the respect of the world, and that idleness and vice
bring their fans to suffering and disgrace. A biography may be of any length. Some men's lives
are so eventful as to furnish sufficient matter for volumes. When brevity is required, only a
few of the leading facts may be presented, and the whole may be so abridged as to occupy but
a few pages, or even a single page.

Here some major guideline to be taken into consideration while writing a biography:

 Birth, condition in life, vocation.

 Character, disposition, mood.
 Mental abilities, leading characteristics of mind.
 Successive events, beginning at the earliest period of life.
 His / her peculiarities or what rendered him/her famous.

Part Three: Expository Composition

Lesson Seven: Definition and Outline

 Introduction:

An exposition can be defined as a form of writing that presents, describes and clarifies
a particular idea or topic. Unlike other essays that deals with personal or narrative topics, an
exposition aims at highlighting its factual aspects; that is, providing a clear understanding of
the chosen topic and exploring its various facets. (For some, it includes three categories:
critical, analytical and argumentative. Within this course, however, we will deal with
argumentative writing separately.)

Definition:

An expository essay provides a clear and straightforward explanation of a particular

subject. It provides a personal opinion about it, but it does not maintain personal emotions and
feelings.

Expository writing often includes a thesis statement (main idea), supportive details/
information, or explanatory paragraphs, and a conclusion that summarizes the information.
Like descriptive essays, an expository essay is typically presented in an introduction, is
developed in body paragraphs and is ended with an inclusive conclusion. Generally, an
expository essay provides the reader with conveying facts, details and information about the
topic. It is finally enhanced with language clarity and precision, for it uses concise and direct
expressions.

Expository Essay Outline:

An expository essay is outlined according to a plan that serves the organizations of

main ideas and supporting details in a coherent manner. However, such a structure may differ
from a writer to another, but also according to his/ her choices and preferences, or to the
nature of the subject. Generally, an expository essay can adopt the following structure:

1. Introduction:
- Hook: as thesis statement (main idea) set to grab the reader’s attention
- Background: brief exposition of the main idea of the topic
2. Body/ Explanatory Paragraphs (usually three or more):
- Topic sentence for each paragraph
 - Supporting sentences (illustrating the topic sentence)
- Analysis or interpretation (optional)
3. Conclusion:
- Summary: restatement of the body paragraphs (in different words)
- Suggestion of future consideration(s)

See the example in the Annex Three below.

Part Four: Argumentative Composition

Lesson Eight: Definition and Outline

 Introduction:

An Argumentation is a composition in which the writer lays down a proposition, and

attempts to persuade others that it is true. Arguments are the facts and reasons that a writer
brings forward to sustain his position. Sermons, speeches orations and all other texts delivered
before popular assemblies are types of argumentative discourses. The ancients adopted six
formal divisions, which are:

1. The Exordium, or Introduction; in which the speaker strove to make his hearers
attentive, and disposed to receive his arguments.
2. The Division, in which the speaker stated the plan he intended to pursue in treating
the subject.
3. The Statement, in which the subject and the facts connected with it, were laid
open.
4. The Reasoning, in which the arguments were set forth in order, the weakest being
generally in the middle, and in which the reasoning of opponents was refuted.
5. The Appeal to the Feelings, one of the most important divisions of the discourse.
6. The Peroration, or the conclusion, in which the speaker summed up all that had
been said, and brought his discourse to a close.

Some speakers may use less formal divisions. However, There are many excellent
discourses, in which several of these parts are altogether wanted.

In contrast, the modern ways of writing an argumentative composition/ essay include:

1. Claim: the position taken by the writer; what the writer is trying to prove or
argue,
2. Reason: provided to support a claim; reasons are supported by evidence,
3. Evidence: use to support or prove a reason; statistics, facts, quotations,
surveys, etc.
4. Counterclaim: counter position(s), opposite argument(s),
5. Rebuttal: refutes or disproves the counterclaim; addresses the criticism of the
claim.

These ways can be simplified and developed through the following question:

1. Claim: what do I think?

2. Reason: why?
3. Evidence: How? Proofs?
4. Counterclaim: What are the opposite arguments?
5. Rebuttal: what my response to the opposite arguments?

See the example in the Annex Three below.

Annex One:

The geeat clock of steasburg.

 There is no subject that i can think of which will be so likely to interest you as the
great astronomical clock which i saw the other day in the cathedral at strasburg. this cathedral
by the way is one of the finest and oldest in europe. it is twenty-four feet higher than the great
pyramid in egypt and one hundred and forty feet higher than st pauls in london. the
astronomical clock stands in the inside in one corner of it and is a most imposing and
beautiful edifice, five or six hundred people visit it every day at twelve o'clock when it
performs some extraordinary feats which I shall presently mention

There have been two or three clocks in the same place upon the model of which the
present one is formed but it is almost a new one. it was constructed in 1838 by a mechanic
named schwilque to whom a festival was given by his fellow-citizens on the occasion of its
completion

To give you some idea of the size of this clock i will inform you that it is as high and
about as wide as the old state-house in Washington street boston there are means of going into
the inside of it and ten or fifteen people perhaps more may stand in its very heart and examine
the machinery mr neale two other gentlemen and myself with the conductor went into it and
spent about an hour there we went first into a lower then into a higher and then into a still
higher apartment of it and saw the various parts of the machinery they consisted i should think
of more than a thousand pieces splendidly polished and all dependent for their harmonious
action upon the short thick brass pendulum which swings in the centre

Annex Two:
 The Weekend Thief

Hugo, a thief who only robs on the weekends, breaks into a house one Saturday night.
Ana, the owner, a thirty-something gorgeous but hopeless insomniac, catches him in the act.
Threatened by a pistol, the woman hands him all her jewellery and valuables and requests him
to not go near Pauli, her 3-year old daughter. However, Pauli looks at him and Hugo seems to
have cast a magic-spell on her. Hugo then thinks, “Why should I leave so early when
everything’s so good here?” He realizes he could spend the entire weekend there and enjoy
himself to the fullest. As for the husband- Hugo knows this because he has spied on them- he
doesn’t return from his business trip until Sunday night. The thief doesn’t think much. He
steps into the shoes of the owner and asks Ana to cook for him, fetch wine from the cellar and
put on some good music for dinner. Hugo can’t live without music.

Ana, worried about Pauli, thinks up of something while preparing dinner, to drive the
bloke out of the house. But she’s helpless because Hugo has already snapped the telephone
cords. Besides, it is an isolated house and no one will show up for help in the dead of the
night.
Ana then decides to slip a sleeping pill in Hugo’s drink. At dinner, the thief who is also a
watchman at a bank on the weekdays, discovers that Ana is the host of his favorite radio show
that he unfailingly listens to every night. Hugo happens to be a big fan of hers. They talk
about music and musicians while listening to Great Benny singing “Cómo fue” on a cassette.
It breaks Ana’s heart to put Hugo to sleep as he’s been very calm and doesn’t intend to hurt or
harass her, but it’s too late now. The pill is already in the glass and the thief gulps down the
drink happily. However, there has been a mistake. It’s Ana who ends up drinking from the
glass with the pill. In no time, Ana falls asleep.

The following morning Ana wakes up in her bedroom, completely dressed and nicely
wrapped in a blanket. In the garden, Hugo and Pauli are playing, having finished preparing
breakfast. Ana is surprised at how well they get along. More so, she is charmed by what an
amazing cook Hugo is, besides being a fairly attractive man. Ana begins to feel a strange
sense of contentment that she had never felt before.

At that moment, a friend drops by to invite Ana to eat with her. Hugo becomes nervous
but Ana cooks up a story that her daughter is unwell and dismisses her immediately. This way,
the three of them stay together in the house and enjoy the Sunday in each other’s company.
Hugo repairs the windows and the telephone cords that he has snapped the previous night,
whistling the whole time. Ana finds out that he does the Cuban dance very well. Ana loves
that dance but has no one to practice it with. He asks her to dance with him and Ana agrees.
They dance away into the evening in each other’s embrace. Pauli watches them, applauds and
finally falls asleep. Exhausted, they end up lying on a couch in the living room.

Soon, their little heaven is disrupted for it’s time for Ana’s husband to return. Even
though Ana protests, Hugo returns everything he has robbed, gives her some advice to prevent
thieves and robbers from entering the house and bids adieu to the two ladies with a lot of
sadness. Ana watches him go further away from her. Hugo is about to disappear into the
darkness when she shouts out to him. When he turns around, she tells him looking right into
his eyes that the following weekend her husband is going on a trip again.

The weekend thief sashays away, happy and dancing through the streets as the night
sets in.

THE END
 Annex Three:

The Evolution of Artificial Intelligence

Introduction

Artificial Intelligence (AI) has moved from a futuristic concept to a reality that
permeates various aspects of our daily lives. This essay will explore the evolution of artificial
intelligence, tracing its development from its inception to contemporary applications, and will
examine the impact it has on industries, society and ethical considerations.

Body Paragraph 1: Historical Overview of AI

The roots of artificial intelligence can be traced back to ancient philosophical debates
and early computational developments. The essay will explore key milestones, such as the
Dartmouth Workshop in 1956, which marked the birth of AI as a formal field of study.

Body Paragraph 2: Applications in Various Industries

AI has become an integral part of industries ranging from healthcare and finance to
manufacturing and entertainment. This section will delve into specific applications, such as
machine learning algorithms in healthcare diagnostics, AI-driven financial forecasting, and
robotics in manufacturing.

Body Paragraph 3: Societal Impact and Ethical Considerations

The widespread adoption of AI raises questions about its impact on the job market,
privacy concerns, and ethical considerations. The essay will explore the societal implications
of AI and discuss ongoing debates surrounding the responsible development and use of
artificial intelligence.

Conclusion

The evolution of artificial intelligence has transformed the way we live, work, and
interact with technology. While offering numerous benefits, it also prompts us to consider the
ethical dimensions and societal implications associated with its continued advancement.

Annex Four:
 Libraries in the Era of Online Learning

As online learning becomes more common and more resources are converted to digital
form, some people have suggested that public libraries should be shut down and, in their
place, everyone should be given an iPad with an e-reader subscription.

Proponents of this idea state that it will save local cities and towns money because
libraries are expensive to maintain. They also believe it will encourage more people to read
because they won’t have to travel to a library to get a book; they can simply click on what
they want to read and read it from wherever they are. They could also access more materials
because libraries won’t have to buy physical copies of books; they can simply rent out as
many digital copies as they need.

However, it would be a serious mistake to replace libraries with tablets. First, digital
books and resources are associated with less learning and more problems than print resources.
A study done on tablet vs book reading found that people read 20-30% slower on tablets,
retain 20% less information, and understand 10% less of what they read compared to people
who read the same information in print. Additionally, staring too long at a screen has been
shown to cause numerous health problems, including blurred vision, dizziness, dry eyes,
headaches, and eye strain, at much higher instances than reading print does. People who use
tablets and mobile devices excessively also have a higher incidence of more serious health
issues such as fibromyalgia, shoulder and back pain, carpal tunnel syndrome, and muscle
strain. I know that whenever I read from my e-reader for too long, my eyes begin to feel tired
and my neck hurts. We should not add to these problems by giving people, especially young
people, more reasons to look at screens.

Second, it is incredibly narrow-minded to assume that the only service libraries offer is
book lending. Libraries have a multitude of benefits, and many are only available if the library
has a physical location. Some of these benefits include acting as a quiet study space, giving
people a way to converse with their neighbors, holding classes on a variety of topics,
providing jobs, answering patron questions, and keeping the community connected. One
neighborhood found that, after a local library instituted community events such as play times
for toddlers and parents, job fairs for teenagers, and meeting spaces for senior citizens, over a
third of residents reported feeling more connected to their community. Similarly, a Pew
survey conducted in 2015 found that nearly two-thirds of American adults feel that closing
their local library would have a major impact on their community. People see libraries as a
way to connect with others and get their questions answered, benefits tablets can’t offer nearly
as well or as easily.

While replacing libraries with tablets may seem like a simple solution, it would
encourage people to spend even more time looking at digital screens, despite the myriad
issues surrounding them. It would also end access to many of the benefits of libraries that
people have come to rely on. In many areas, libraries are such an important part of the
community network that they could never be replaced by a simple object.

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Further Theoretical Readings:

Bishop, Wendy. "Keywords in Creative Writing." David Starkey, Utah State University Press, University Press of
Colorado, 2006.

Conners, Professor Robert J. "Composition-Rhetoric: Backgrounds, Theory, and Pedagogy." Pittsburgh Series in
Composition, Literacy, and Culture, Hardcover, New ed. Edition, University of Pittsburgh Press, June 1,
1997.

D'Angelo, Frank. "Nineteenth-Century Forms/Modes of Discourse: A Critical Inquiry." Vol. 35, No. 1, National
Council of Teachers of English, February 1984.

Hintikka, Jaakko. "Strategic Thinking in Argumentation and Argumentation Theory." Vol. 50, No. 196 (2), Revue
Internationale de Philosophie, 1996.

Perron, Jack. "Composition and Cognition." English Education, The Writing Teacher: A New Professionalism,
Vol. 10, No. 3, National Council of Teachers of English, February 1979.

Quackenbos, George Payn. First Lessons in Composition. New York: D. Appleton and Company. 1879.