How to Approach an Argument

There are two strategies I recommend when you are not sure what you're going to argue in your paper yet (either the formal analysis or the final research paper). The first option is to jot down some notes answering these questions:

• When, where, and why was the work made? By whom and for whom? What is the cultural context??

• Where would the work originally have been seen?

• Does the title help illuminate the work? What do the physical and visual qualities help illuminate about the work?

• What is the subject matter?

Now you have some information about the work on paper that you didn't before.

The other step that I recommend is to use the Brooklyn College Library One SearchBrooklyn College Library One Search resource to enter the "Keywords" of your chosen topic. For example, if you are going to write about Duchamp's readymades, type "Duchamp" "readymades" and see what sources come up. A good strategy is to see what other authors have written about the topic you're interested in to discover what their argument is, what perspective they have on the topic, and whether you agree or disagree. This requires time and focus but can lead you to a great topic and thesis statement.

Thesis-Driven Essay

I recommend students produce thesis-driven essays for both of the essay assignments this semester. Here is the structure I wish for you to follow:

• Provides a THESIS in the introductory paragraph

• A thesis offers an argument that can be debated

• In the paragraphs following the thesis, you will want to provide specific research and formal analyses that support it

• The conclusion can: point to the significance of your claims, offer further suggestions for future research, or provide further questions

Here is an example of a strong introduction paragraph with the thesis statement at the very end. Notice how the author broadly introduces the topic and gets more specific as the paragraph continues.

"German Expressionism is an artistic genre that originated in Europe in the 1920s and is broadly defined as the rejection of Western conventions, and the depiction of reality that is widely distorted for emotional effect. Heavily influenced by artists such as Vincent van Gogh, Edvard Munch, and El Greco, Expressionists were less concerned with producing aesthetically pleasing compositions as they were with creating powerful reactions to their work through the use of bright, clashing colors, flat shapes, and jagged brushstrokes. In its nature, the movement was interested in the relationship between art and society and encompassed a broad range of fields, including architecture, painting, and film. Expressionist films were initially born out of Germany’s relative isolation during the 1910s and quickly generated high demand due to the government’s ban on foreign films. The films’ appeal soon spread to an international audience, and by the early 1920s, many European filmmakers had begun experimenting with the absurd and wild aesthetics of German cinema. Two of the most influential films of the era were Metropolis (1927), by Fritz Lang (Austrian, 1877–1961), and The Cabinet of Dr. Caligari (1920), by Robert Wiene (German, 1873–1938). Like Expressionist paintings, Expressionist films sought to convey the inner, subjective experience of their subjects."