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10 Concept Mapping

Creating a concept map is a way of organizing your brainstorming around key concepts.

This video from the University of Guelph offers a brief and helpful overview of concept mapping: [1]

Ready to get started with a concept map? This KPU learning aid can also help guide you through the process.

Let’s use our example where an instructor has given us the assignment: Write a 1,500 word persuasive essay that responds to the question: “Are transit services effective for Kwantlen University students?” Include your own perspective in your analysis and draw on two primary and two academic sources.

We’ll follow the seven steps of concept mapping outlined in the video above and I’ll include some examples.

• Identify the main topic
• Brainstorm everything you know about the topic
• Use relevant content from course, lectures, textbooks, and course material

Sticky notes can be a great way of jotting down ideas – you can move the notes around as you begin to identify similarities and differences. You can also ask questions and include reminders of work that that you need to do. See the example below of some sticky notes I might use to start my assignment:

I’ll add more sticky notes with key questions that relate back to the assignment – I’ll need to find primary and academic sources:

I can use these questions as I begin my research process and identify the primary and academic sources I need to support the argument that I will make.

To find out more about the research process, ask a librarian , or check out the KPU Library’s Research Help guide.

This video, included in KPU Library’s Research Help page, provides a good overview of working with an assignment to make sure that you develop a response that is specific and well-supported:

• Organize information into main points 

After noting down what I know about my topic and identifying key questions that I’ll need to research everything, I can focus on a few things that will be important to describe and analyze in my essay. I’ve made a list of some that I can use:

Based on what I’ve done so far, I’m setting up a descriptive comparison of transit options for KPU students, but will emphasize that current transit options are not effective. I want to look for further connections between ideas and see how I can shape my argument.

Step Three :

• Start creating map
• Begin with main points
• Branch out to supporting details

Give it a try! Based on your experience of public transit and the ideas that I’ve outlined so far, how might you start to create a concept map? You can use a piece of paper, or concept mapping software, to make note of ideas and start to connect them.

Step Four :

• Review map and look for more connections
• Use arrows, symbols, and colours, to show relationships between ideas

I start to build layers of connections and relationships in my map:

Step Five :

• Include details

This is where I can provide more information about each point – below, I’ve taken one of the points and added to it:

• Analyze and improve map by asking questions
• How do ideas fit together?
• Have all necessary connections been made?

This is where I can step back and review my map and keep the purpose of my assignment in mind. This is also a good time to follow up on questions that I might have – I can talk through my ideas with a classmate or visit my instructor as I continue to develop and refine my ideas.

Step Seven :

• Update concept map as you learn more
• Ask key questions about connections between ideas

I’ll keep my map with me as I meet with my instructor to discuss my ideas and when I visit the library to locate any academic resources that I might need; this way, I can keep everything together.

• “ How to Create a Concept Map ” by University of Guelph Library CC BY-NC-SA 4.0 ↵

Academic Writing Basics Copyright © 2019 by Megan Robertson is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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How to Create a Mind Map for Essay Writing

Last Updated: December 1, 2023 Fact Checked

Generating Your Map

Organizing your map for writing, expert q&a.

This article was co-authored by Jake Adams . Jake Adams is an academic tutor and the owner of Simplifi EDU, a Santa Monica, California based online tutoring business offering learning resources and online tutors for academic subjects K-College, SAT & ACT prep, and college admissions applications. With over 14 years of professional tutoring experience, Jake is dedicated to providing his clients the very best online tutoring experience and access to a network of excellent undergraduate and graduate-level tutors from top colleges all over the nation. Jake holds a BS in International Business and Marketing from Pepperdine University. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 286,550 times.

If you’re a visual learner or just looking to switch up how you outline your essays, mind maps can be a game-changer. They make coming up with ideas for your essay and organizing them super easy. If you’ve never used a mind map for essay writing before, don’t worry—we break down everything you need to know to get started in the steps below.

Things You Should Know

• Get out a piece of paper and write your topic in the center. This can be a single word or sentence.
• Then, write down any words and ideas that relate to your topic. Circle them and then draw lines or arrows to connect them to the topic.
• Label each bubble idea according to where it fits into your paper. This can be a specific paragraph or a general section, like the introduction.

• Lay out the colored markers or pencils to which you have assigned meaning.
• Orient your paper so that it is in landscape position.
• If you don't have colored pencils or markers, don't worry. You can still make a mind map with just a pen or pencil!

• Circle your topic.

• Each thing you write down may give you another association. Write that down as well. For instance, writing "Impairment vs. disability" might remind you of "wheelchair ramps."
• Try to cluster related thoughts together ("wheelchair ramps"—"access to public life"), but don't worry if it doesn't always happen—you can draw a line between things you wish to connect.
• Look for connections between your unrelated thoughts and jot them into the picture.

• You might also label them "supporting argument," "evidence," "counterargument" etc.

• Include doodles if they occur to you, but again, don't get caught up in making them perfect.
• Depending on your age and essay topic, you might want to focus more on drawing pictures than writing out words.

• While there are plenty of programs available for purpose, you can also use free online mapping tools like Bubble.us, Mind42, or Coggle.

• Add details as you go. For instance, you may write some of the sources you are planning to use to the sections of your essay to which they apply.

• If you do this, you can start by drawing bubbles for the sections and continue by filling in the thoughts and associations.
• You can also organize your revised mind map into bubble for topic sentences that branch into smaller bubbles for supporting arguments and evidence.
• Once you've done this, you practically have a rough draft of your paper.

• Start each paragraph with a sentence that introduces the ideas of that paragraph, and write until you have incorporated all the information for that section.
• If you end up adding things that weren't on your map, look at your map to check that they fit, and consider penciling them in. One of the virtues of the map is that it keeps you on topic.
• Make sure you're not cramming too many points from your mind map into a single paragraph.

You Might Also Like

• ↑ https://www.adelaide.edu.au/writingcentre/sites/default/files/docs/learningguide-mindmapping.pdf
• ↑ https://emedia.rmit.edu.au/learninglab/content/how-create-mind-map
• ↑ https://learningcenter.unc.edu/tips-and-tools/using-concept-maps/
• ↑ Jake Adams. Academic Tutor & Test Prep Specialist. Expert Interview. 20 May 2020.

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Introduction to Academic Reading and Writing: Concept Map

• Concept Map
• Select a Topic
• Develop a Research Question
• Identify Sources
• Thesis Statements
• Effective Paragraphs
• Introductions and Conclusions
• Quote, Paraphrase, Summarize
• Synthesize Sources
• MLA and APA
• Transitions
• Eliminate Wordiness
• Grammar and Style
• Resource Videos

Concept Maps

Create a concept map using your annotations and highlights of the text .

Define your map’s focus question and topic.  Your focus question guides your map in a certain direction.  What is the purpose of what you read? Your topic is  what  you are reading about.  

Create a list of relevant concepts, thoughts and implications of your topic as you read.  , think about the relationships between these concepts and begin to organize the list of concepts from broad to specific.  you can set a topic at the center, with supporting points and details branching outwards, or you can create a hierarchy, with  the  topic at the top and its components below.   , add links and cros s -links  between related concepts   and  label these links with words or phrases to  clarify  the relationship between concepts., color code, add symbols, and personalize to your map so that is meaningful to you..

Check out these free online Concept Mapping tools:

• Lucid Chart

Video by McLaughlin Library, University of Guelph, 2017 .

Concept Map Example

Map by Penn State University , Concept Maps iStudy Tutorial

• << Previous: Annotate
• Next: Research >>
• Last Updated: Aug 21, 2023 12:23 PM
• URL: https://libguides.lbc.edu/Introtoacademicreadingandwriting

Concept Maps

What are concept maps.

Concept maps are visual representations of information. They can take the form of charts, graphic organizers, tables, flowcharts, Venn Diagrams, timelines, or T-charts. Concept maps are especially useful for students who learn better visually, although they can benefit any type of learner. They are a powerful study strategy because they help you see the big picture: by starting with higher-level concepts, concept maps help you chunk information based on meaningful connections. In other words, knowing the big picture makes details more significant and easier to remember.

Concept maps work very well for classes or content that have visual elements or in times when it is important to see and understand relationships between different things. They can also be used to analyze information and compare and contrast.

Making and using concept maps

Making one is simple. There is no right or wrong way to make a concept map. The one key step is to focus on the ways ideas are linked to each other. For a few ideas on how to get started, take out a sheet of paper and try following the steps below:

• Identify a concept.
• From memory, try creating a graphic organizer related to this concept. Starting from memory is an excellent way to assess what you already understand and what you need to review.
• Go through lecture notes, readings and any other resources you have to fill in any gaps.
• Focus on how concepts are related to each other.

Your completed concept map is a great study tool. Try the following steps when studying:

• Elaborate (out loud or in writing) each part of the map.
• List related examples, where applicable, for sections of the map.
• Re-create your concept map without looking at the original, talking through each section as you do.

Examples of concept maps

Example 1 : This example illustrates the similarities and differences between two ideas, such as Series and Parallel Circuits. Notice the similarities are in the intersection of the 2 circles.

Example 2 : This example illustrates the relationship between ideas that are part of a process, such as a Food Chain.

Example 3 : This example illustrates the relationship between a main idea, such as climate change, and supporting details.

Example 4 : Outlining is a less visual form of concept mapping, but it might be the one you’re most familiar with. Outlining by starting with high-level course concepts and then drilling down to fill in details is a great way to determine what you know (and what you don’t know) when you’re studying. Creating an outline to start your studying will allow you to assess your knowledge base and figure out what gaps you need to fill in. You can type your outline or create a handwritten, color-coded one as seen in Example 5.

Additional study strategies

A concept map is one tool that you can use to study effectively, but there are many other effective study strategies. Check out these resources and experiment with a few other strategies to pair with concept mapping.

• Study Smarter, Not Harder
• Higher Order Thinking
• Metacognitive Study Strategies
• Studying with Classmates
• Reading Comprehension Tips

Make an appointment with an academic coach to practice using concept maps, make a study plan, or discuss any academic issue.

Attend a workshop on study strategies to learn about more options, get some practice, and talk with a coach.

How can technology help?

You can create virtual concept maps using applications like Mindomo , TheBrain , and Miro . You may be interested in features that allow you to:

• Connect links, embed documents and media, and integrate notes into your concept maps
• Search across maps for keywords
• See your concept maps from multiple perspectives
• Convert maps into checklists and outlines
• Incorporate photos of your hand-written mapping

Testimonials

Learn more about how a Writing Center coach uses TheBrain to create concept maps in our blog post, TheBrain and Zotero: Tech for Research Efficiency .

Works consulted

Holschuh, J. and Nist, S. (2000). Active learning: Strategies for college success. Massachusetts: Allyn & Bacon.

If you enjoy using our handouts, we appreciate contributions of acknowledgement.

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• Research Guides

Literature Review: A Self-Guided Tutorial

Using concept maps.

• Literature Reviews: A Recap
• Peer Review
• Reading the Literature
• Developing Research Questions
• Considering Strong Opinions
• 2. Review discipline styles
• Super Searching
• Finding the Full Text
• Citation Searching This link opens in a new window
• When to stop searching
• Citation Management
• Annotating Articles Tip
• 5. Critically analyze and evaluate
• How to Review the Literature
• Using a Synthesis Matrix
• 7. Write literature review

Concept maps or mind maps visually represent relationships of different concepts. In research, they can help you make connections between ideas. You can use them as you are formulating your research question, as you are reading a complex text, and when you are creating a literature review. See the video and examples below.

How to Create a Concept Map

Credit: Penn State Libraries ( CC-BY ) Run Time: 3:13

• Bubbl.us Free version allows 3 mind maps, image export, and sharing.
• MindMeister Free version allows 3 mind maps, sharing, collaborating, and importing. No image-based exporting.

Mind Map of a Text Example

Credit: Austin Kleon. A map I drew of John Berger’s Ways of Seeing in 2008. Tumblr post. April 14, 2016. http://tumblr.austinkleon.com/post/142802684061#notes

Literature Review Mind Map Example

This example shows the different aspects of the author's literature review with citations to scholars who have written about those aspects.

Credit: Clancy Ratliff, Dissertation: Literature Review. Culturecat: Rhetoric and Feminism [blog]. 2 October 2005. http://culturecat.net/node/955 .

• << Previous: Reading the Literature
• Next: 1. Identify the question >>
• Last Updated: Feb 22, 2024 10:53 AM
• URL: https://libguides.williams.edu/literature-review

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Improve Your Writing by Using Concept Maps

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English learners face a common problem: their writing often lacks clarity and cohesion .

That is according to Babi Kruchin and Alan Kennedy who teach at the American Language Program at Columbia University.

They recommend that English learners use concept maps – images that show how ideas are connected.

What is important is how you put it together

Let’s consider a comparison. In some ways, the writing process is like cooking.

Gathering the ingredients for a meal requires effort. But, understanding how to put all the ingredients together is far more difficult.

Similarly, learning nouns, adjectives, and verbs can be hard to do. But, putting them together into a meaningful story, email, or essay is what is difficult.

Doing these things becomes even more difficult when you are writing in a second language.

So, writing clear, cohesive paragraphs or essays, can be hard for English learners.

To overcome this problem, Kruchin and Kennedy recommend that students make concept maps before writing.

Kennedy says concept maps show a writer when his or her writing lacks clarity.

Kruchin adds that concept maps help visual learners – people who learn better by seeing ideas.

What are concept maps?

Concept maps are tools for organizing ideas. They usually have three parts: concepts, arrows, and linking phrases .

The concepts, which are the main ideas, are in circles or boxes. They are often nouns or noun phrases.

Arrows show how concepts are connected.

Linking words or phrases go above the arrows and explain how the concepts relate to one another.

Linking phrases are especially important. They are the groups of words that show relationships between concepts.

Joseph Novak, the creator of concept mapping, says such linking phrases give meaning to statements:

"If you say dog and food, those two concepts by themselves don't mean anything. They don't make a statement about the world. But if you say "dogs need food", then you begin to express an idea that's significant."

Novak adds that the linking words or phrases should be short. "You do not want a story between two concepts," he says, "just the expression that is needed to say, 'this concept is significantly related to another concept.'"

Generally, the generic ideas are at the top of the concept map and the specific ideas are at the bottom.

Kennedy explains what this looks like:

"So, for example, if you wanted to explain that trees provide wood, and wood is used to make furniture, you could have a circle around the word trees… and then you could have an arrow between the word wood and the word furniture, which would also be in a circle, and on top of that arrow it would say "is used to make""

From this starting point, writers can expand concept maps to include many concepts, arrows, and linking phrases.

Regardless of how simple or complex the map is, the most important point is that every concept has at least one arrow attached to it, and that every arrow has a linking word or linking phrase.

Building a concept map before writing an essay or email will make you think about how your ideas relate to one another.

You will realize when you are not explaining the relationships between ideas if you make a concept map that does not have arrows or linking phrases.

What can you do?

So, what can you do to start practicing concept maps?

You can start by reading and learning common linking words.

#1 Start by building a concept map of a paragraph

Kruchin recommends that English learners begin to use concept maps by studying the writing of others.

Learning how good writers have connected and developed ideas is an important starting point for learners who want to improve their own writing.

Kruchin adds that English learners should begin with a small amount of writing, such as a paragraph.

Kruchin suggests that English learners study the paragraph, or essay, by looking for the following information:

"The author's main idea is this, because of A, B, and C and here is one example to support A, one example to support B, one example to support C."

Doing this exercise, Kruchin adds, will give English learners information about how they can show relationships between ideas in their own writing.

#2 Learn common words and phrases that connect ideas

Kennedy recommends that English learners master words and phrases that show relationships between ideas. These linking phrases often show cause and effect or tell about the order of events.

English learners, Kennedy explains, should practice using a few of these phrases before moving to phrases that are more complex.

In particular, he recommends that English learners first use phrases such as "leads to", "causes", "is a type of" and "requires", before moving on to other phrases.

Read the article that goes with this story

Whether your goal is to write novels, poetry, or a message to a co-worker or friend, being able to show a relationship between ideas is an important skill.

Concept mapping might seem complicated, but Kennedy and Kruchin wrote an article that can help clarify their ideas. You can find the article on this page in PDF format. Download the article, read it, then try practicing with concept maps.

Let us know how concept maps work for you!

I'm John Russell.

John Russell wrote this story for Learning English. Mario Ritter was the editor.

We want to hear from you. Write to us in the Comments Section.

________________________________________________________________

Words in This Story

cohesion – n. a condition in which people or things are closely united

concept – n. an idea of what something is or how it works

ingredient – n. one of the things that are used to make a food, product, etc.

overcome – v. to successfully deal with or gain control of (something difficult)

phrase – n. a group of two or more words that express a single idea but do not usually form a complete sentence

Using Concept Maps to Enhance Cohesion and Coherence in Academic Writing

Studying Sentence Patterns to Improve Your Writing: Part Two

Studying Sentence Patterns to Improve Your Writing: Part One

Improve Your Writing by Studying Critical Thinking

Center for Teaching

Beyond the essay, ii.

Print Version

Formative Activities: Snapshots of Learning in Process

Concept Maps & Word Webs || Word Clouds

As Bass noted in his Visible Knowledge Project work with faculty, what “most interested—or eluded—them about their students’ learning” involved the “’intermediate processes’” that occur before students write a paper or take an exam.  They were particularly eager to “gather information not available from finished products such as papers or ephemeral evidence such as class discussion, which they could not study reflectively” (Bernstein & Bass, 2005, p. 39). These earlier stages in learning are often hidden, kept private in the students’ minds, leaving faculty to assume or guess what students think and know—or don’t.

This capturing of the learning-in-process is the goal of formative assessments, or low-stakes activities used to identify learning, gaps, and confusion well before the higher-stakes, summative assignments of essays, exams, and the like . This guide from the CFT offers a variety of such assessments (commonly called “CATs,” classroom assessment techniques), but one is particularly effective at making visible these rich, elusive, telling moments:  concept maps.

Concept Maps & Word Webs

Students diagram their emerging frameworks, arguments, or narratives of personal understanding

Concept maps are diagrams of how students connect ideas, particularly effective at “externalizing and making visible the cognitive events of learning” (Kandiko, Hay, & Weller, 2012, p. 73). Word webs is an alternative term, most commonly used for concept maps made in collaborative groups (Barkley, Cross, & Major, 2005, p. 226-231).  These “cognitive events” include making and defining connections, demonstrating hierarchies or chronologies, developing ideas through support and examples—and, when juxtaposing earlier and later concept maps, working out individualized frameworks of understanding, building an argument, forming more complex syntheses of ideas, and showing changes in thinking.

Developed for biology classes, concept maps are often scored quantitatively: thinking of each map as a spoke or a chain (outlined as A and B to the right), its quality is measured in the accuracy and comprehensiveness of its hierarchy of ideas and number of links (Kandiko, Hay, & Weller, 2012, p. 74).  They can also be assessed qualitatively by thinking of them as networks (C, right), evaluated by the accuracy, quality, and complexity of their connections and interconnections (Hay, Wells, & Kinchin, 2008, p. 224). This latter purpose is perhaps one reason for the alternative term, “word webs.”

Even further, comparing two or more maps or webs by the same student can make visible changes in thinking—additive or “assimilative” thinking in which students incrementally map new ideas onto old ones, or conceptual thinking in which students eventually revise and build their own their structures for understanding a concept. Kandiko, Hay, and Weller’s “Concept Mapping in the Humanities to Facilitate Reflection: Externalizing the Relationship between Public and Personal Learning” (2012) focuses on this latter, conceptual approach, which they note is closer to the ways of constructing knowledge in the humanities. Progressive maps or webs can document “continual processes of rehearsal, revision and reflection among theory, argument and debate,” or “recreating meaning and personal understanding” (p. 77-78).  The authors illustrate with a case study from a Classics course in which students were simply asked to make three concept maps—in the beginning, middle, and end of the semester—of the overarching course topic, “’The impact of Greek literature and culture on the Roman world’” (p. 74).

Unlike the original use of concept maps to assess comprehension and additive knowledge in biology classrooms, this approach uncovers the shift from a student’s public reproduction of others’ ideas and patterns to the process of creating the student’s own conceptual frameworks, arguments, and stories of the discipline.

To the right is an example of a word web–similar to a concept map but with more emphasis on words and networks.

• “ Concept Mapping in the Humanities to Facilitate Reflection: Externalizing the Relationship between Public and Personal Learning ” (2012) by Kandiko, Hay, and Weller is a solid analysis of how concept maps are useful in the humanities and the source of the examples above.

Word Clouds

Students visualize and analyze shifts in their own understanding

Word clouds are visual representations of words emphasized by frequency.  Like concept maps, individual word clouds document hierarchical thinking, in the sense of the words that are the most frequent (and thus largest) are presumably the most important–a very simple quantitative assessment. Also like concept maps, progressive examples can illustrate shifts in thinking.  For example, a student could create a word cloud of earlier thinking (a written brainstorm, a blog post, an essay) and another of later thinking, and then reflect on the differences between the two. This analysis of the student’s own movement measured simply by word frequency initiates an act of more sophisticated metacognitive self-reflection: “How has my thinking about this concept changed?”

The same activity can be used for the entire class to demonstrate changes in thinking over the course of the semester.  For instance, below are word clouds from a literary and film course on monsters from the first and last days of class is in response to the question, “What is a monster?”  Students were then asked to analyze the two word clouds and articulate how the class’s understanding of monsters had changed during the course.

• Create word clouds with the Textal iPhone app.

Barkley, Elizabeth F., Cross, K. Patricia, & Major, Clair Howell. (2005). Collaborative Learning Techniques: A Handbook for College Faculty . Jossey-Bass: San Francisco.

Bernstein, Dan, & Bass, Randy. (July/August 2005). The Scholarship of teaching and learning . Academe , 91( 4). 37-43.

Hay, David B., Wells, Harvey, & Kinchin, Ian M. (2008). Quantitative and qualitative measures of student learning at university level . Higher Education, 56 . 221-239.

Kandiko, Camille, Hay, David, & Weller, Saranne. (2012). Concept mapping in the humanities to facilitate reflection: externalizing the relationship between public and personal learning . Arts & Humanities in Higher Education , 12 .1. 70-87.

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Essay Papers Writing Online

Master the art of crafting a concept essay and perfect your writing skills.

Every great work of literature begins with a spark of inspiration, a kernel of an idea that germinates within the writer’s mind. It is this concept, this central theme, that serves as the foundation of the entire writing process, guiding the writer along the creative journey. In the realm of academic writing, the concept essay holds a special place, as it requires the writer to explore abstract ideas, dissect complex theories, and present their understanding of a particular concept.

Unlike traditional essays where arguments are made, and evidence is provided, concept essays delve into the intangible realm of ideas, taking the reader on a captivating exploration of abstract concepts. These essays challenge the writer to convey their understanding of a concept without relying on concrete evidence or facts. Instead, they rely on the writer’s ability to provide clear definitions, logical explanations, and compelling examples that elucidate the intricacies of the concept at hand.

Effectively crafting a concept essay requires skillful mastery of language and an astute understanding of how ideas interconnect. It is a delicate dance between the power of words and the depth of thought, where metaphors and analogies can breathe life into otherwise elusive notions. The successful concept essay requires more than merely stating definitions or describing the concept; it necessitates the writer’s ability to engage and captivate the reader, transporting them into the realm of ideas where the abstract becomes clear and tangible.

Mastering the Art of Crafting a Conceptual Essay: Indispensable Suggestions and Instructions

Embarking on the journey of composing a conceptual essay necessitates an astute understanding of the complexities involved. This particular form of written expression empowers individuals to delve deeply into abstract concepts, unravel their intricacies, and articulate their findings in a clear and coherent manner. To accomplish this task with finesse, it is imperative to familiarize oneself with indispensable suggestions and instructions that pave the way to success.

1. Explore Profusely:

• Investigate, scrutinize, and immerse yourself in the vast realm of ideas, allowing your mind to explore a myriad of perspectives.
• Delve into diverse disciplines and subjects, sourcing inspiration and insight from a wide array of sources such as literature, art, philosophy, science, and history.
• Be cognizant of the fact that the more extensive your exploration, the richer your conceptual essay will be.

2. Define Your Focus:

• Once you have gathered an abundant collection of ideas, narrow down your focus to a specific concept that captivates your interest.
• Choose a concept that is both intriguing and stimulating, as this will fuel your motivation throughout the writing process.
• Strive to select a concept that possesses a level of complexity, rendering it ripe for analysis and interpretation.

3. Establish a Clear Structure:

• Prior to commencing the writing process, create a well-structured outline that delineates the key sections and points you wish to convey in your essay.
• Ensure that your essay possesses a clear introduction, body paragraphs that expound upon your chosen concept, and a comprehensive conclusion that ties together your arguments.
• Organize your thoughts in a logical manner, employing effective transitions that allow your essay to flow seamlessly.

4. Support your Claims:

• Avoid presenting mere conjecture or personal opinions; instead, bolster your arguments with credible evidence and examples.
• Cite reputable sources, such as scholarly articles, books, or studies, to lend credibility and authority to your assertions.
• Engage critically with the works of other esteemed thinkers, analyzing their viewpoints and incorporating them into your own exploration of the concept.

5. Polish and Perfect:

• Once you have crafted the initial draft of your conceptual essay, allocate ample time for revision and refinement.
• Engage in meticulous proofreading to eliminate any errors in grammar, punctuation, or syntax that may detract from the overall impact of your work.
• Solicit feedback from trusted peers or mentors, incorporating their suggestions into your final version.

In conclusion, mastering the art of crafting a conceptual essay demands diligent exploration, focused attention, and a commitment to delivering a well-structured and thought-provoking piece of writing. By following these essential tips and guidelines, you can navigate the intricacies of this unique form of expression and develop an essay that both captivates and informs its readers.

Understanding the Purpose of a Concept Essay

Having a clear understanding of the purpose behind writing a concept essay is crucial for creating a successful piece of writing. Concept essays aim to explore and explain abstract ideas, theories, or concepts in a way that is accessible and engaging to readers.

Although concept essays may vary in subject matter, their main objective is to break down complex ideas and make them understandable to a wider audience. These essays often require deep analysis and critical thinking to present the chosen concept in a comprehensive and enlightening manner.

A concept essay goes beyond simply defining a concept but delves deeper into the underlying principles and implications. It requires the writer to provide insight, examples, and evidence to support their claims and demonstrate a thorough understanding of the concept being discussed.

Concept essays also provide an opportunity for writers to explore new and innovative ideas and present them in a thought-provoking way. They allow for personal interpretation and creativity, encouraging writers to examine a concept from different angles and offer unique perspectives.

Furthermore, concept essays can be used as a tool for education and learning, helping readers expand their knowledge and gain a deeper understanding of various concepts. By breaking down complex ideas into more digestible forms, these essays enable readers to grasp abstract concepts and apply them to real-world situations.

In conclusion, the purpose of a concept essay is to convey abstract ideas or concepts in a clear and engaging manner, utilizing critical thinking and analysis. By presenting complex ideas in a comprehensive way, concept essays facilitate understanding and encourage readers to explore and expand their knowledge in the chosen subject area.

Choosing a Strong and Specific Concept

When it comes to crafting a well-written piece of work, selecting a compelling and precise concept is crucial. The concept you choose will serve as the foundation for your essay, shaping the content, tone, and direction of your writing.

Before diving into the process of choosing a concept, it’s important to understand what exactly a concept is. In this context, a concept can be defined as a broad idea or theme that encapsulates a particular subject or topic. It is the main point or central idea that you want to convey to your readers through your essay.

An effective concept should be strong, meaning it should be able to capture the attention and interest of your readers. It should be something that has depth and substance, allowing for exploration and analysis. A strong concept will engage your audience and motivate them to continue reading.

In addition to being strong, your concept should also be specific. It should be focused and clearly defined, narrowing down your topic to a specific aspect or angle. A specific concept will help you maintain a clear direction in your writing and prevent your essay from becoming too broad or unfocused.

To choose a strong and specific concept, start by brainstorming ideas related to your topic. Think about the main themes or issues you want to address in your essay. Consider what aspects of the topic interest you the most and which ones you feel are worth exploring further.

Once you have a list of potential concepts, evaluate each one based on its strength and specificity. Ask yourself whether the concept captures your interest and whether it has the potential to captivate your audience. Consider whether it is specific enough to guide your writing and provide a clear focus for your essay.

By choosing a strong and specific concept, you will set yourself up for success in writing your concept essay. Remember to select a concept that is compelling, focused, and meaningful to you and your readers. With a well-chosen concept, you will be able to create a thought-provoking and engaging essay that effectively conveys your ideas.

Developing a Clear and Coherent Thesis Statement

When crafting an effective essay, one of the most important elements to consider is the development of a clear and coherent thesis statement. The thesis statement acts as the central theme or main argument of your essay, providing a roadmap for your readers to understand the purpose and direction of your writing.

A well-developed thesis statement not only states your main argument but also provides a clear focus for your essay. It helps you organize your thoughts and ensures that your essay remains cohesive and logical. A strong thesis statement sets the tone for your entire essay and guides the reader through your main ideas.

To develop a clear and coherent thesis statement, it is crucial to thoroughly understand the topic you are writing about. Conducting research and gathering relevant information will help you form a solid foundation for your thesis statement. Make sure to analyze different perspectives on the topic and consider any counterarguments that may arise.

Once you have a good understanding of the topic, you can begin brainstorming and drafting your thesis statement. Start by considering the main idea or argument you want to communicate to your readers. Your thesis statement should be concise and specific, clearly conveying your main point. Avoid vague or general statements that lack focus.

In addition to being clear and concise, your thesis statement should also be arguable. It should present a debatable claim that can be supported with evidence and logical reasoning. This allows you to engage your readers and encourages them to consider different perspectives on the topic.

After drafting your thesis statement, it is important to review and revise it as needed. Make sure it accurately reflects the content and direction of your essay. Consider seeking feedback from peers or instructors to ensure that your thesis statement is clear, coherent, and effectively conveys your main argument.

In conclusion, developing a clear and coherent thesis statement is essential for writing an effective essay. It sets the tone for your entire essay, provides a clear focus, and guides the reader through your main ideas. By thoroughly understanding the topic, brainstorming and drafting a concise and arguable thesis statement, and revising as needed, you can ensure that your essay is well-structured and persuasive.

Structuring Your Concept Essay Effectively

Creating a well-organized structure is vital when it comes to conveying your ideas effectively in a concept essay. By carefully structuring your essay, you can ensure that your audience understands your concept and its various aspects clearly. In this section, we will explore some essential guidelines for structuring your concept essay.

1. Introduction: Begin your essay with an engaging introduction that captures the reader’s attention. This section should provide a brief overview of the concept you will be discussing and its significance. You can use an anecdote, a rhetorical question, or a thought-provoking statement to make your introduction compelling.

2. Definition: After the introduction, it is crucial to provide a clear definition of the concept you will be exploring in your essay. Define the concept in your own words and highlight its key characteristics. You may also include any relevant background information or historical context to enhance the reader’s understanding.

3. Explanation: In this section, you will delve deeper into the concept and explain its various elements, components, or features. Use examples, analogies, or real-life situations to illustrate your points and make them more relatable to the reader. Break down complex ideas into simpler terms and highlight the connections between different aspects of the concept.

4. Analysis: Once you have provided a thorough explanation of the concept, it is time to analyze it critically. Discuss different perspectives or interpretations of the concept and evaluate their strengths and weaknesses. Consider any controversies or debates surrounding the concept and present a balanced view by weighing different arguments.

5. Examples and Case Studies: To further support your arguments and enhance the reader’s understanding, include relevant examples and case studies. These examples can be from real-life situations, historical events, or fictional scenarios. Analyze how the concept has been applied or manifested in these examples and discuss their implications.

6. Conclusion: Conclude your concept essay by summarizing your main points and restating the significance of the concept. Reflect on the insights gained from your analysis and offer any recommendations or suggestions for further exploration. End your essay on a thought-provoking note that leaves the reader with a lasting impression.

By structuring your concept essay effectively, you can ensure that your ideas are presented coherently and persuasively. Remember to use clear and concise language, provide logical transitions between sections, and support your arguments with evidence. With a well-structured essay, you can effectively communicate your understanding of the concept to your audience.

Using Concrete Examples to Illustrate Your Concept

One effective way to clarify and reinforce your concept in a concept essay is by using concrete examples. By providing specific and tangible instances, you can help your readers grasp the abstract and theoretical nature of your concept. Concrete examples bring your concept to life, making it easier for your audience to understand and relate to.

Instead of relying solely on abstract theories, you can support your concept with real-life scenarios, research studies, or personal anecdotes. These examples add depth and relevance to your essay, making it more engaging and meaningful.

When choosing examples to illustrate your concept, it is important to select ones that accurately represent the core elements of your concept. Look for examples that exhibit the underlying principles, attributes, or behaviors that are associated with your concept.

For instance, if your concept is “leadership,” you can provide examples of influential leaders from history or modern-day society. These examples can demonstrate the qualities that define effective leadership, such as integrity, communication skills, and the ability to inspire and motivate others.

Additionally, when presenting concrete examples, ensure that they are relevant and relatable to your target audience. Consider the background and interests of your readers and choose examples that they can easily comprehend and connect with. This will enhance the effectiveness of your essay and create a stronger impact.

In conclusion, using concrete examples is a powerful technique for illustrating your concept in a concept essay. By incorporating specific instances, you can bring clarity, relevance, and authenticity to your writing. This approach allows your readers to grasp your concept more easily and appreciate its practical application in real-life scenarios.

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Jan 27, 2016 | BRIEF

During the course of many years, I developed a methodology to organize and deliver corporate narratives. Earlier in my career, I used basic visual mind maps that helped clients outline and gain consensus on their core message. Eventually, I saw there was an opportunity for mind maps to help with more than messaging, which is how narrative maps were born.

While the narrative map began with General William Caldwell of the 82nd Airborne in the U.S. Army , we eventually evolved it to work for large multinationals and start-ups.

Today I’ll share with you what a narrative map looks like and how you can use it to deliver your message in a brief manner.

Narrative Map (De)constructed

Narrative maps consist of several important elements that make it easier to explain messages and give them clarity and context. They have a clockwise build; you begin with the center bubble and add bubbles around it clockwise.

There are five elements in a narrative map. We’ll take them one-by-one.

• Focal point (or center bubble) . This is the central part of a narrative. It’s akin to a headline , which explains and isolates the point of the story. Is the focal point about innovation, change, competition, or something else.
• Setup or challenge . What challenge, conflict, or issue exists in the marketplace your organization is addressing? Why does this problem exist? Who contributes to it? This begins to isolate the major issue within the story.
• Opportunity . What is the implication or the opportunity for your organization? This is what some people call an unmet need or an aha moment. This is something you could use to effect change or to address and resolve an issue.
• Approach . How does your story unfold? What are the three or four characters or key elements? What is the how, where, and when?
• Payoff . All good stories have a conclusion or payoff. How do you resolve the setup from the beginning? Let’s say your story is about innovation, and there are four ways the company is going to create something new. How is that going to benefit a customer, an employee, the industry, or the community? Where does that story conclude? Who sees the benefits?

When you translate boring business speak into a narrative map, you apply a filter that makes it interesting because it synthesizes volumes of information into a visual outline that produces a logical, strategic, contextual, and relevant story. It is a credible story because your organization firmly believes the story is true and will influence people. And it is concise because it’s on one page.

Use your narrative map to tell your story to a client, share it with key audiences such as investors, partners, and employees, or build morale with employees.

You will have people nodding their heads in real understanding in less than five minutes.

How will you use a narrative map?

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6.3: Writing a Narrative Essay

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• Amber Kinonen, Jennifer McCann, Todd McCann, & Erica Mead
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When writing a narrative essay, you may want to start by freewriting about topics that are of general interest to you.

Once you have a general idea of what you will be writing about, you should sketch out the major events of the story that will compose your plot. Often, these events will be revealed chronologically and climax at a central conflict that must be resolved by the end of the story. The use of strong details is crucial as you describe the events and characters in your narrative. You want the reader to emotionally engage with the world that you create in writing.

To create strong details, keep the five senses in mind. You want your reader to be immersed in the world that you create, so focus on details related to sight, sound, smell, taste, and touch as you describe people, places, and events in your narrative.

key takeaways

• Narration is the art of storytelling.
• Narratives can be either factual or fictional. In either case, narratives should emotionally engage the reader.
• Most narratives are composed of major events sequenced in chronological order.
• Time transition words and phrases are used to orient the reader in the sequence of a narrative.
• The four basic components to all narratives are plot, character, conflict, and theme.
• The use of sensory details is crucial to emotionally engaging the reader.
• A strong introduction is important to hook the reader. A strong conclusion should discuss the conflict and evoke the narrative theme.

Examples of Narrative Essays

• “Indian Education,” by Sherman Alexie
• “Us and Them,” by David Sedaris
• “Sixty-Nine Cents,” by Gary Shteyngart
• “Only Daughter,” by Sandra Cisneros

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Using Concept Maps when Previewing before Reading

by Guest Contributor · Published June 17, 2019 · Updated December 8, 2021

This piece is republished from Dr. David C. Caverly’s Website with the author’s permission. 

An important lesson I have learned over 40 years of teaching strategic reading to college developmental students has been they often come to me having been told what strategies  to use, such as Previewing a text before reading.  Consequently, many have learned the declarative knowledge of what Preview strategies are and encouraged to use them before reading.  Seldom, however, have students been taught  how to use the steps of a Previewing strategy (through procedural knowledge; Paris, Lipson, & Wixson, 1983); to monitor  when the Previewing strategy is most effective and when it is not (through meta-cognitive knowledge); and to realize  where  a Previewing strategy is useful, such as in certain genres of text, or where the Previewing strategy might need to be adapted for other genres (through conditional knowledge).

Rarely have students been taught  why a Previewing strategy will be more effective when they choose (through volitional knowledge) to combine an  understanding-based strategy  with a  remembering-based strategy.  That is, combining multiple strategies into a self-regulated strategic approach to Previewing develops multiple benefits for students.  It helps them understand what they will be reading with Previewing, but it also helps them remember what was read, as well as how it is organized when creating a Concept Map as they Preview (Schroeder, Nesbit, Anguiano, and Adesope, 2018).

This blog will suggest 1 additional lesson with 3 additional activities you can use to help your students understand this  how  and  why process when teaching a strategic approach by adding concept maps to Previewing before reading expository texts.

Lesson 1: Start with the resources present in the  Preview  module as they are very useful. For example, the Previewing lesson presents 8 excellent steps about  what students should preview prior to reading a text and explains 3 benefits from using them.

Activity 1 : Follow up with the questions available in the  Preview Activity   module to confirm students understand the 8 strategies and the 3 benefits.

Lesson 2: Additionally, I have found it useful to guide students through  how to learn to use Preview Concept Mapping by modeling for them how to create a handwritten, or digital concept map (similar to what is proposed in the  Hoot’s Intern’s Corner: Concept Mapping  blog).  Evidence has suggested using previewing with concept maps will solidify their new procedural knowledge greater than previewing without a concept map (Khajavi & Abbasian, 2013).  Modeling for students  how  to use Preview Concept Mapping creates two additional benefits before reading as it provides a visual source to organize the information gathered through previewing as well as it provides a place to determine what information is known and what information is unknown.

To model  how  to use Preview Concept Mapping for strategic reading, I have found it useful to teach explicitly using a  Gradual Release of Responsibility  instructional process (Pearson & Gallagher, 1973, 2011). Here, responsibility for learning is placed on the teacher as he/she  models for student(s) how a given strategy is used through explicitly demonstrating the steps in the strategy within an authentic text.  Next, the responsibility for learning is shifted to the student(s) through a guided practice   experience where they apply the steps in a second authentic text and are monitored individually by the teacher (or in a classroom by their peers).  Finally, the learning is evaluated by the student as he/she uses the strategy through independent practice   using a different genre and without the support of the teacher.  To foster this process, I have found using a  considerate text   (i.e., well structured, guided text) in this teaching process fosters the learning for the student as they are not hindered by less-than considerate, or inconsiderate text where some of the 8 elements are not present.

Activity 2 – Modeling Previewing with Concept Maps:  To begin this activity, download  Section 2.2 Religious upheavals in the developing Atlantic world   which is a free, open-source, online section of a chapter within a college History text.  This is an excellent example of a considerate text.  If you would rather use a “hard copy” as a pdf, go to this same site and download the entire book by clicking on  Get This Book.  This will allow you to down the entire free, open-source U.S.  History book. Navigate to page 34 in the pdf to Section 2.2.

Next, have your students navigate to  Activity 2  by clicking on this link.  Here, I strategically model how to create a Preview Concept Map.

When your student(s) finish Activity 2, you as instructor should lead the students to the Guided Practice.

Activity 3:  Orchestrate a  Guided Practice  opportunity where the student applies what he/she learned in a  less-than considerate expository text (includes some but not all of the 8 components, so students can adapt how they map).  Through this activity, students are able to practice what they have learned by applying this learning to a similar section of the chapter, and have you (and/or their peers through a group activity) available to provide support as they create their map.  Remember to make available just-in-time support to insure the responsibility for success is shared between instructor and the student (or perhaps even other students in a classroom setting).

Begin by asking the students to download the first section of the chapter for this Guided Practice by clicking on Activity 3:

• Chapter 2.1 – Portuguese Exploration and Spanish Conquest

If they need additional practice, have them nagivate to the third section of this chapter:

• Chapter 2.3 – Challenges to Spain’s Supremacy

If you are teaching students individually, require the student to send you an e-mail of their Preview Concept Map for this first section of the chapter.  Also, make sure you are available through your e-mail for questions or feedback as they work through creating a new Preview Concept Map in this guided practice.

If you are requiring this activity in a class, provide a blog space in your Learning Management System for students to ask questions, share their evolving Preview Concept Map, and get guidance from you or their peers.

Have them submit their Preview Concept Maps for this section of the chapter also to you or to their peers for group comparison and evaluation.  Guided Practice can continue until the student feels competent with their ability to create a Preview Concept Map.

GO TO ACTIVITY 4

RETURN TO ACTIVITY 2

Once successful with the Guided practice, it is vital that the student(s) has (have) the opportunity to apply what they have learned about  Previewing with Concept Mapping  by transferring it (i.e., testing it out) on a chapter from another class in which you are enrolled which is not History.

This opportunity for transfer builds confidence in the student, and leads them to chapters that are not so considerate, where the strategies must be adapted.  Adapting to new learning situations is vital to succeed in college.

Here is an Activity 4 where they are guided to Independent Practice.

Activity 4 – Independence Practice : Orchestrate an independent practice opportunity where students apply what they have learned to another class on a chapter they have to read in an attempt to transfer what they have learned.

Feel free to e-mail me  as to whether these additional 3 activities were useful for your students.

Corbett, P. S., Janssen, V., Lund, J. M., Pfannestiel, T., & Vickery, P. (2018a). 2.1 Portuguese exploration and Spanish conquest. U.S. History  (pp. 33 – 42). Houston, TX: Rice University Openstax. Retrieved from  https://cnx.org/contents/[email protected]:0lLioyXu@8/2-1-Portuguese-Exploration-and-Spanish-Conquest

Corbett, P. S., Janssen, V., Lund, J. M., Pfannestiel, T., & Vickery, P. (2018b). 2.2 Religious upheavals in the developing Atlantic world.  U.S. History  (pp. 42-46). Houston, TX: Rice University Openstax. Retrieved from  https://cnx.org/contents/[email protected]:R7-UnQRB@7/2-2-Religious-Upheavals-in-the-Developing-Atlantic-World

Corbett, P. S., Janssen, V., Lund, J. M., Pfannestiel, T., & Vickery, P. (2018c). 2.3 Challanges to Spain’s supremacy. U.S. History  (pp. 46-51). Houston, TX: Rice University Openstax. Retrieved from  https://cnx.org/contents/[email protected]:2v4PHpcf@8/2-3-Challenges-to-Spain-s-Supremacy

Corbett, P. S., Janssen, V., Lund, J. M., Pfannestiel, T., & Vickery, P. (2018d). 2.4 New worlds in the Americas: Labor, commerce, and the Columbian exchange. U.S. History  (pp. 52-58). Houston, TX: Rice University Openstax. Retrieved from  https://cnx.org/contents/[email protected]:YYfUmm0Y@4/New-Worlds-in-the-Americas-Labor-Commerce-and-the-Columbian-Exchange

Fowler, S., Roush, R., & Wise, J. (2017). 1.2 The process of science. In  Concepts of Biology (pp. 16-26). Houston, TX: Rice University Openstax. Retrieved from  https://cnx.org/contents/[email protected]:RD6ERYiU@10/1-2-The-Process-of-Science

Hambline, G. (2019, March 14). Intern’s Corner: Concept Mapping [web log comment]. Retrieved from  https://hoot.excelsior.edu/

Khajavi, Y., & Abbasian, R. (2013). Improving EFL Students’ Self-regulation in Reading English Using a Cognitive Tool. Journal of Language & Linguistics Studies, 9 (1), 206-222.

Paris, S. G., Lipson, M. Y., & Wixson, K. K. (1983). Becoming a strategic reader. Contemporary Education Psychology, 8 (3), 293-316.

Pearson, P. D. (2011). Toward the next generation of comprehension instruction:  A coda. In H. Daniels (Ed.),  Comprehension going forward  (pp. 243-253). Portsmouth, NH: Heinemann.

Pearson, P. D., & Gallagher, M. (1983). The instruction of reading comprehension. Contemporary Educational Psychology, 8 , 317-344.

Previewing. (n.d.). Excelsior Online Reading Lab . [Online Multimedia] Retrieved from  https://owl.excelsior.edu/orc/what-to-do-before-reading/previewing/

Previewing: Activity. (n.d.).  Excelsior Online Reading Lab . [Online Multimedia] Retrieved from  https://owl.excelsior.edu/orc/what-to-do-before-reading/previewing/previewing-activity/

Schroeder, N. L., Nesbit, J. C., Anguiano, C. J., & Adesope, O. O. (2018). Studying and Constructing Concept Maps: a Meta-Analysis. Educational Psychology Review, 30 (2), 431-455. doi: 10.1007/s10648-017-9403-9

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What is a concept map and how do you make one

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Concept maps are visual tools for organizing and representing knowledge and ideas in a graphical format. They consist of concepts (or nodes) with connected lines to illustrate their relationships and hierarchy. Concept maps are useful for organizing information, solving problems, and making decisions. They also help with information sharing and collaboration by allowing contributors to convey ideas in an easily understandable format. This format provides a deeper understanding of complex topics. This guide will discuss concept maps, their key features, and how to use one to benefit your team's decision-making process .

What is a concept map?

A concept map is a visual representation that illustrates the relationships between different concepts, ideas, or information. Concept maps typically portray ideas as boxes or circles, known as nodes, and organize them hierarchically with interconnected lines or arrows, known as arcs. These lines have annotated words and phrases that describe the relationships to help understand how concepts connect.

Concept map key features

While concept maps share similarities with other visual tools, they possess distinct features that set them apart. These characteristics contribute to their effectiveness in organizing information and visually representing relationships within a particular knowledge domain.  Below are the essential components of a concept map and how they work together.

Concepts are the fundamental thoughts, ideas, or topics within the concept map. They serve as the building blocks for organizing information. For example, if a concept map represents a business plan, it could include concepts such as marketing strategies, financial planning, supply chain management, and other key components of the business strategy.

Linking words or phrases

Linking words or phrases describe the relationship between connected concepts. They allow the viewer to understand the flow of information and how the nodes interconnect. Examples of linking words or phrases are “is a part of,” “leads to,” “requires,” “is dependent on,” etc.

Propositional structure

Propositions are statements that combine two or more concepts using linking words. Also known as semantic units or units of meaning, they form the basis for generating new knowledge within a specific domain. Visually depicting interconnected propositions contributes to a greater understanding of the subject matter. In a business plan example, a propositional structure to connect two concepts could look like “marketing strategies increase brand awareness.”

Hierarchical structure

The hierarchical structure positions the most general and inclusive concepts at the top and arranges more specific concepts underneath.

Reading the concept map from top to bottom provides an understanding of concepts from broader categories to more detailed and specific ones.

In a business plan example, the overall business strategy would be at the top level, followed by sub-levels such as marketing strategy, finance, and human resources.

Parking lot

The parking lot is an area for unrelated ideas. It’s a ranked list, starting with the most general concepts and moving to the most specific. It serves as a holding space for ideas until you can determine their appropriate places in the concept map.

Cross-links

Cross-links represent connections between concepts in distinct areas of the map. They enable the visualization of relationships between ideas from diverse domains.

For example, in a concept map for a business plan, you may cross-link market research (part of marketing strategy) and financial forecasting (under financial planning), as insights gained from market research can inform your forecasting and budgeting decisions.

Types of concept maps

The implementation and arrangement of concept maps can vary. Here are four primary types of concept maps:

• Spider maps : Also known as spider diagrams, these concept maps resemble a spider web. The central concept is in the center, and the related topics branch out. This type is most effective when delving into different aspects of a central concept.
• Flowcharts : A flowchart is a visual depiction of a process or workflow. Its linear structure guides readers through the information step-by-step. (See also: how to make a flowchart ).
• System maps : Rather than connecting all ideas to a central concept, a system map concentrates on the relationships between ideas without a clearly defined hierarchical structure.
• Hierarchy maps : Hierarchy maps illustrate rank or position. The primary idea or the concept with the highest rank sits at the top while lower-ranking ideas flow underneath in a structured manner.

How to make a concept map

To create a concept map, follow these steps:

• Identify your primary topic. Ensure that your topic is broad enough to allow for subtopics. You should position this central concept at the top or center of your map, forming the basis of the hierarchical structure.
• Identify the essential concepts relating to the central topic. Place these concepts in the parking lot—a temporary space to store ideas—and arrange them from most broad to most specific.
• Move the key concepts from the parking lot to the concept map, prioritizing the broadest ideas that directly relate to the main topic. Establish the connections between concepts with linking words.
• Double-check the map for accuracy, ensuring the relationships are clear and linking words are coherent. Use cross-links to connect concepts across different sections of the map.
• Expand and revise the map as you generate more ideas.

How to use a concept map

Concept maps have practical applications and offer various benefits in different industries. They help visualize the relationships between various concepts, providing a deeper understanding of complex subjects.  Concept maps help individuals retain and understand concepts and their relationships by organizing and illustrating connections between ideas. While concept maps are popular in academia, their adaptability makes them a valuable tool in many fields. Using a concept map:

• Enhances understanding of complex topics
• Organizes information
• Facilitates critical thinking
• Improves team collaboration and communication
• Provides flexibility for generating new ideas and evolving existing ones

Content map examples

Businesses can use concept maps in various ways to enhance communication, decision-making , and knowledge sharing . Here are some ways businesses can apply concept maps:

• Product development : Teams can use concept maps to organize and visualize ideas, features, and requirements in a brainstorming session .
• Project management : By organizing tasks, mapping dependencies, and displaying the project timeline , teams can better visualize the project life cycle .
• Sales funnel : Sales teams can use a concept map to visualize and optimize the sales funnel, mapping the customer journey from lead generation to conversion.

Use Confluence whiteboards for concept mapping

Concept maps are versatile and valuable tools that contribute to enhanced understanding, effective communication, and collaborative problem-solving.

For collaborative concept mapping, use Confluence whiteboards . Confluence whiteboards are an essential tool for any collaborative culture , enabling teams to create and work together freely on an infinite canvas. They bring flexibility to projects, supporting teams as they move from idea to execution.

Confluence whiteboards bridge the gap between where teams think and where teams do. Brainstorming with Confluence whiteboards helps teams organize their work visually and turn ideas into reality, all within a single source of truth.

Try Confluence whiteboards

Content mapping: Frequently asked questions

What is the difference between mind mapping and concept mapping.

While mind mapping and concept mapping are visual techniques for organizing and representing information, they have a few key differences. Mind maps organize thoughts for brainstorming and problem-solving, while concept maps organize thoughts to emphasize the connections between ideas. A mind map tends to be more free-flowing and lacks a hierarchy, while a concept map has a structured layout that represents relationships and hierarchy.

What is the best tool for concept mapping?

The best concept mapping tool depends on your collaboration requirements and ease of use. To bring your work together in a single source of truth, easily provide access to all contributors, and turn your ideas into reality, try Confluence whiteboards.

Can I collaborate on a concept map?

Yes, collaboration is possible on a concept map. A concept map is a productive tool for gathering insights from multiple contributors, especially when using a dedicated platform that supports collaborative editing such as Confluence whiteboards.

You may also like

Project poster template.

A collaborative one-pager that keeps your project team and stakeholders aligned.

Project Plan Template

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How to Write a Narrative Essay

Essay writing comes in many forms, not all of which require extensive research. One such form is the narrative essay, which blends personal storytelling with academic discussion. Authors of these essays use their own experiences to convey broader insights about life.

This genre offers writers a unique chance to connect with readers on a personal level. By sharing experiences and reflections, authors engage their audience emotionally while conveying important messages or lessons. In the following sections, our custom term paper writing experts will explore various aspects of narrative writing, from choosing a topic to effectively structuring your essay!

What Is a Narrative Essay

A narrative essay is a piece of writing that tells a story, often based on personal experiences. Unlike academic or journalistic writing, which sticks to facts and a formal style, narrative essays use a more creative approach. They aim to make a point or impart a lesson through personal stories. These essays are commonly assigned in high school or for college admissions. An effective narrative essay typically follows a chronological order of events and has three main traits:

• Has one main idea.
• Uses specific facts to explain that idea.
• Follows a clear order of events.

A narrative essay resembles short stories in structure, with vivid illustrations, plots, characters, and discussion. However, there are key differences. These essays are focused on a central theme or argument and conclude decisively, while short stories often have a more abstract moral or message.

A narrative essay is usually written in the first person and follows a standard structure with an introduction, body, and conclusion. Short stories, on the other hand, can take various formats.

What is the Purpose of a Narrative Essay

When tasked with writing, you might wonder what the exact purpose of a narrative essay is. Here are various scenarios where you might need to write one:

• School Assignments: Teachers often assign them to help students improve their writing and storytelling skills. Sharing personal experiences lets students get feedback and improve.
• Reflective Writing: They offer a chance to think about personal achievements. Whether it's winning an award or reaching a goal, writing about these experiences helps people understand their importance and share them with others. Meanwhile, if you wish to describe your life in greater depth, you might look at how to write an autobiography .
• Application Requirements: They're often needed for job, internship, or scholarship applications. These essays let applicants show their experiences and goals, standing out from others.
• Literary Analysis : In literature classes, you might write them to analyze stories or poems. You'll explore themes, characters, and how the story is told.
• Historical Reflection : In history or social studies, you'll use these essays to think about events in the past. By imagining the experiences of people in different times, you can understand history better.
• Cultural Exploration : These essays help you explore different cultures. In classes like anthropology or sociology, you might write about your own culture or learn about others by telling their stories.

How to Write a Narrative Essay in 5 Steps

Crafting a narrative essay is a whole different ball game compared to other school essays. Instead of analyzing topics, it's about sharing personal experiences through storytelling. By walking through a few easy steps below, you can turn your ideas into a gripping narrative. And, if sharing your personal stories is not your cup of tea, you can buy essays online from our expert writers, who will customize the paper to your particular writing style and tone.

Step 1: Start with a Topic Selection

When writing a narrative essay, start by choosing a topic that either relates to your own experiences or matches a given prompt. If there's a prompt, think about what it asks for and brainstorm ideas that fit.

As you brainstorm, write down key points or moments you want to include. Think about how each point fits into your essay's structure and if it meets any word count limits.

Consider the tone and style you want for your writing. Will it be reflective or humorous? Are there specific stylistic choices you want to use, like repeating phrases or leaving cliffhanger endings? These choices shape your narrative and keep your reader engaged. And, stay flexible as you explore ideas. You can always tweak your topic, tone, and style as you write.

Read more on Narrative Essay Topic to skip the brainstorming and choose a ready-made option!

Step 2: Make a Clear Outline

Once you've picked your topic, make a narrative essay outline. It acts as a roadmap for telling your story effectively. Identify the key points you want to cover, like important events or lessons learned, and assign each to a paragraph, ensuring a logical flow of ideas.

The outline will plan the progression of your narrative, letting you map out events and decide how much detail to give each point. For example, if you're writing about overcoming a challenge, your outline might have a paragraph for background, then paragraphs detailing your perseverance and the obstacles you faced. Finally, if you're wondering how to write an essay conclusion , you'll just summarize the experience and its lessons.

Step 3: Write Your Narrative Essay

Now, it's time to start writing a narrative essay! Use your outline as a guide, and write each section with clear and engaging language.

Remember, narrative essays are about expressing yourself creatively, so don't worry about sticking to formal academic writing rules. Focus on captivating your reader and bringing your story to life.

Tip 💡 Use first-person : Write from your perspective using pronouns like 'I' and 'me' to make your narrative essay personal and engaging.

Tip 💡 Employ storytelling techniques : Use techniques from fiction and creative nonfiction, like dialogue and symbolism, to enhance your narrative and engage readers.

Tip 💡 Show, don't tell : Instead of just stating facts, use vivid descriptions and sensory details to let the reader experience the story with you.

Tip 💡 Be authentic : Stay true to your own voice and experiences. Share your thoughts and feelings honestly to make your narrative essay genuine and relatable.

Step 4: Don't Forget to Revise

After finishing your essay, it's crucial to revise and refine it. But first, take a break after your first draft to return with fresh eyes and a clear mind. This is one of the most important tips for writing a narrative essay, making it easier to identify areas that need improvement.

When you return, read through your essay carefully to ensure logical flow and coherence. Check for any inconsistencies or gaps in the narrative and make revisions as needed to improve clarity. Pay attention to details such as tense, point of view, and narrative voice throughout your essay.

Step 5: Proofread Your Writing

As you consider ending a narrative essay, it's important to carefully proofread it for any remaining errors or typos. Pay attention to details such as formatting and citation style, if necessary. Sharing your essay with trusted friends, family, or teachers and seeking their feedback can provide valuable insights and help you identify areas for improvement that you may have overlooked. Based on the feedback received and your own observations during the revision process, make changes to strengthen the impact and effectiveness of your essay. Remain open to making significant changes if necessary to enhance the quality of your narrative.

Narrative Essay Format

The narrative essay format is crucial for captivating readers and creating memorable stories. Whether it's a personal essay or fiction, these guidelines will help you take readers on a journey, making them feel immersed in the action:

• Introduction : Set the scene and introduce the characters and setting. Use a hook to grab readers' attention.
• Plot : Have a clear beginning, middle, and end, with each part building on the last. Include a conflict or problem for the protagonist to overcome.
• Characters : Develop well-rounded characters with distinct personalities and motivations. Ensure the protagonist has a clear goal, and the antagonist provides a challenge.
• Setting : Describe the time and place effectively to set the mood and support the story's themes.
• Dialogue : Use realistic dialogue to reveal characters' traits and move the plot forward.
• Climax : Reach the highest point of tension or conflict, leading to resolution.
• Resolution : Provide a satisfying conclusion that ties up loose ends.

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Order now and let our narrative essay writer turn your experiences into a captivating and unforgettable tale

Narrative Essay Examples

If you need inspiration for your next essay, check out these excellent samples from our essay writer . Use them as a guide to craft your own narrative, and let your unique voice and experiences shine.

Narrative Essay Example for College

College professors search for the following qualities in their students:

• the ability to adapt to different situations,
• the ability to solve problems creatively,
• and the ability to learn from mistakes.

Your work must demonstrate these qualities, regardless of whether your narrative paper is a college application essay or a class assignment. Additionally, you want to demonstrate your character and creativity. Describe a situation where you have encountered a problem, tell the story of how you came up with a unique approach to solving it, and connect it to your field of interest. The narrative can be exciting and informative if you present it in such fashion.

Narrative Essay Example for High School

High school is all about showing that you can make mature choices. You accept the consequences of your actions and retrieve valuable life lessons. Think of an event in which you believe your actions were exemplary and made an adult choice. A personal narrative essay example will showcase the best of your abilities. Finally, use other sources to help you get the best results possible. Try searching for a sample to see how others have approached it.

Final Recap

Now that you understand what a narrative essay is, you're likely eager to create a top-notch paper. So, let our team of skilled writers lend a hand! Our research paper writing service provides various professional services tailored to your specific needs. With flexible pricing and quick turnaround, you can be confident you're getting excellent value!

Unlock Your Potential with Our Essays!

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What Is A Narrative Essay?

How to start a narrative essay, how to write a good narrative essay.

Daniel Parker

is a seasoned educational writer focusing on scholarship guidance, research papers, and various forms of academic essays including reflective and narrative essays. His expertise also extends to detailed case studies. A scholar with a background in English Literature and Education, Daniel’s work on EssayPro blog aims to support students in achieving academic excellence and securing scholarships. His hobbies include reading classic literature and participating in academic forums.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

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Using Concept Mapping and Mind Mapping in Descriptive and Narrative Writing Classes

This study was an attempt to investigate the comparative impact of concept map and mind map instruction on EFL learners’ descriptive and narrative writing. To fulfill this purpose, 60 intermediate EFL learners were selected from among a total number of 100 through their performance on a pretest, i.e., a piloted sample Cambridge Preliminary English Test (PET). Then, the students were randomly divided into two experimental groups of 30. The scores of the writing part of PET were analyzed separately and the mean scores of the two groups were compared through an independent samples t-test in order to assure that the writing ability of the students was homogeneous at the outset. Both groups underwent the same amount of treatment (14 sessions of 90 minutes) three days a week with one group undergoing the concept map treatment while the other the mind map treatment. A posttest comprising a descriptive and a narrative writing were administered at the end of the treatment to both groups. The...

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Using Mind-Mapping to Develop EFL Students’ Writing Performance

Rattana Yawiloeng , Sandrine Tareen

The present study aims to explore the effects of using a mind map on EFL students' L2 writing development through descriptive writing activities. Purposive sampling was used to recruit 30 Thai high school students. They were placed into three groups depending on their English proficiency, including advanced, intermediate, and novice, and data was gathered using quantitative and qualitative methods. A Pre-test and post-test, a participant observation, and a semi-structured interview were used as instruments. The results demonstrated an enlargement in post-test scores after EFL students used a mind map to write. Furthermore, the students had overall positive feedback on using a mind map to develop EFL writing performance. As a result, the significant findings of this study lead to educational suggestions concerning the importance of thinking tools regarding the connections between pictorial and written information.

Rattana Yawiloeng

Syeda Saima Ferheen Bukhari

The study identifies appropriate Mind mapping techniques to enhance the EFL learners’ writing ability. It reviews and examines the traditional techniques used in teaching writing to the Saudi intermediate learners and identifies appropriate Mind mapping techniques along with an application procedure to enhance the writing skill. The sample included 40 intermediate learners and 20 English language teachers at the English Language Institute. The study divided into two phases; a Survey Phase and an Experiment Phase; started with the learners’ placement test and a questionnaire distributed in EL teachers to collect the data on practicing usual techniques and problems faced while teaching writing. Since, the main focus of the study was to identify the appropriate Mind mapping techniques to enhance the learners’ writing ability, the experiment phase continued for 7-8 weeks. The statistical analysis of the data was carried out by using Microsoft Excel and SPSS. The results indicated that the learners, who were taught through Mind maps, improved cohesion and coherence; content paragraph structure and length in writing. The results manifested that the hierarchical structure of the Mind mapping techniques used in the pre-writing process enhanced the EFL learners’ writings.

Hadeel Al Kamli

Writing in general, second language writing in particular, can be an obstacle for some students. The reason why writing can be hard to learn is that writers face many challenges the moment they start writing. The challenges could be from gathering the ideas to be written, planning of the outline, focusing on sentence structure, choosing the appropriate expressions, and also making sure of the organization. Moreover, these challenges can cause students to have negative attitudes towards writing. Previous studies suggest that using writing strategies can help student control the writing process which have a positive effect on their writing achievement and their attitudes towards writing. The strategy of mind mapping is used as a pre-writing strategy to help writers visualize the structure of their writing. However, the researcher proposes using mind mapping strategy not only to organize ideas, but also to organize grammatical and linguistic knowledge. This study investigates the effect of using this mind mapping strategy as a pre-writing strategy to enhance female language learners’ writing achievement and their attitudes towards writing in English at Taif University, Saudi Arabia. In a quasi-experimental design, a mixed methods approach was adopted by collecting quantitative and qualitative data. The study population is 128 students in an experimental group (n1= 57) and a control group (n2=71). The former received the treatment of instruction using mind mapping strategy and the latter received traditional instruction. The objectives of this study are first, to identify any differences between the mean scores of the experimental group and the control group on post-tests of writing attitudes and writing achievement; second, to identify differences between the mean scores of the pre- and post-tests of writing attitudes and writing III achievement for the experimental group; third, to explore students' views concerning difficulties to write in English. fourth, to identify the strategies they used to overcome these difficulties; fifth, to investigate if students thought that mind mapping helped them write better and, if so, how. The researcher prepared a test to measure the writing achievement of female first-year EFL students, and a questionnaire by Sturm (1996) to measure writing attitudes. An interview was conducted with a focus group from the experimental group to achieve the third, fourth and fifth objectives. Independent samples and paired sample t-tests were performed to quantitively analyze data from the writing achievement test and the writing attitudes questionnaire. Data collected from the interview were qualitatively analyzed. The finding of the current study are first, there exists differences between the mean scores of the experimental and the control group on the post-tests of the students` writing achievement and writing attitudes, in favor of the experimental group; second there exists significant differences between the mean scores of the experimental group’s pre- and post-tests in writing achievement and writing attitudes, in favor of the post-test; third, students’ difficulties to write in English include lack of vocabulary, organization, spelling and grammar; fourth, students are accustomed to memorizing, practicing, and self-correcting, which indicates they are not used to planning their writing; finally, students also positively perceived the strategy of mind mapping and thought it helped them to better write in English.

IOP Conference Series: Materials Science and Engineering

Ismaniar Isa

Jurnal Ilmiah Profesi Pendidikan

Aisyah Azahra

Mind mapping technique is one of the techniques that are very helpful in writing activities and is considered effective and able to help develop the ability of EFL learners in writing report text. This study aims to describe the development of the ability of EFL learners in writing report text through mind mapping technique. The research method in this study is qualitative research with a library research approach, where the researcher collects, analyzes, and reviews scientific journals or previous studies, which are then described and made a conclusion. The results showed that mind mapping was able to help in developing the ability of EFL learners in writing report text, especially in the content aspect, also mind mapping technique is considered very effective in helping to teach writing. Thus, it can be concluded that developing the ability of EFL learners in writing report text through mind mapping technique is very useful and effective in its use. So this study suggests EFL teac...

Lenguyenngochien Le

Since Mind Map was created by Tony Buzan, a famous psychologist in the late Sixties, it has been proved to be an excellent tool for learners to use for the purpose of enhancing their learning. The principal objective of the current study was to investigate the benefits of Mind Mapping strategy when considering Mind Mapping as a pre-writing tool for the purpose of improving organizing ideas and vocabulary in writing a descriptive essay. In order to reach the goals of this study, I embarked on an action research held at the Branch 6 of the Outerspace Language School (117 An Duong Vuong, Ward 8, District 5) from January 1 to December 1, 2014. To have the findings, 20 students at the similar level of linguistic proficiency were selected in a same class due to the complaints from their English head teacher about the unsatisfying results of students in the final writing test. Due to the validation of data analysis, these 20 selected candidates were required to a writing test to examine the productiveness of Mind Mapping. However, prior taking the test, all candidates had been instructed the way to conduct a good descriptive writing with Mind Mapping technique. Besides, a questionnaire and a portfolio were employed to support the primary research. At the end of the study, by looking at the results in the test, the researcher concluded that applying Mind Mapping method could improve achievements of students producing a descriptive essay. Furthermore, the results from questionnaire and portfolio are once confirmed the effectiveness of Mind Map method in teaching writing. Thus, Mind Mapping method was worth being implemented in other classes and being an innovative teaching approach that the teachers should strive to apply. Key word: Mind Mapping strategy, descriptive writing, writing, Outer Space Language School

Farida Lutfia

Abstract: Writing is a way to deliver our ideas in the form of text. The writer can deliver everything on their minds in paper so that their writings can be written by everybody else. Writing is good for people who have less confidence in conveying their feelings. Since, we do not only communicate with others people through speaking but also by means of writing. In fact, many of students gain some difficulties when they write in paper less background knowledge, grammatical problem, need long time to create idea, there is no feed back, and way to make a coherence paragraph. A lot of technique that have been designed by the researcher and the teachers, and every technique has some benefits and compatibility in certain text. One of the appropriate technique for writing descriptive text is mind mapping. The teachers can apply mind mapping as the alternative in learning and teaching descriptive text. In this present study, the researcher tried to know the effectiveness of mind mapping in...

Journal of Educational Study

Diana Vanessa Sullcahuaman Arista

This study was conducted to improve the study group students’ skill in writing descriptive text using mind map technique. The subjects of the study were 9 students in Dana Punia Orphanage Singaraja. The data obtained was descriptively analyzed. The mean score of the pre-test was 54.5%, which was categorized as being poor to fulfill the students’ minimum standard score. After the treatment was conducted, the mean score of the students increased to 69.6% in the first cycle, and then increased to 75.3% after conducting cycle 2. The result of the study showed that the students’ achievement in writing descriptive text improved, it meant that the Mind Map technique was a very effective technique to be applied in writing descriptive text. This study is expected could be used as a reference for other researchers in conducting further study related to the teaching of writing in school, also as a comparison study for conducting technique in teaching writing especially using mind map Technique.

Arif Zidan Prayogo 12 MIPA 6

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Blog Data Visualization 10+ Concept Map Examples to Showcase Your Ideas

10+ Concept Map Examples to Showcase Your Ideas

Written by: Tessa Reid Aug 16, 2022

Lack of inspiration. Roadblocks. Confusion. 

These are just a few of the problems concept mapping can solve for you and your team. By visualizing the relationship between different concepts, these maps simplify complex ideas, support learning and promote critical thinking. 

Not quite sure how to create a concept map ? Not to worry. The following article will clear things right up along with concept map templates you could use to get started right away. But first, let’s make sure we have all our basics covered… 

Click to jump ahead:

What is concept mapping?

10 concept map examples with templates and design tips, how can businesses use concept mapping.

Simply put, a concept map is a diagram that shows how concepts are related to one another. These maps have many modern uses, but were originally developed to support meaningful learning. 

In his book, Learning How to Learn , Joseph D. Novak defines this as, “the assimilation of new concepts and propositions into existing cognitive structures.” 

In addition to learning, concept mapping can help with everything from brainstorming to decision-making. (More on the different ways businesses use concept maps in a sec.) How? 

By representing a main idea in a circle or box (called a node) and connecting related ideas with labeled lines (called links), a concept map organizes all the information on a topic, outlines how that info fits together and points to insights and/or actions.

For example, this concept map lists out strategies for staying awake and alert. Each strategy links to additional bullet points with supporting facts: 

Now for some examples, design tips and concept map templates ! 

• Evaluation essentials for nonprofit concept map example
• Light reaction chemistry concept map example
• How does Bitcoin work concept map example
• Light biodiversity concept map example
• Red protein biology concept map example
• Dark cell biology concept map example
• Protein biology concept map example
• Science chemistry concept map example
• Green plant biology concept map example
• Large reactions chemistry concept map example

Sidebar: you can edit any of the following templates with Venngage’s concept mapping software. Many of these templates are free to use, while others require a small monthly fee. Sign up is always free, as is access to Venngage’s user-friendly, drag-and-drop editor.   

1. Evaluation essentials for nonprofit concept map example

This template uses one of the most popular formats for a concept map: the spider map (also called a spider diagram ). Spider concept maps feature a main topic in a central node with sub-concepts branching out in various directions. 

If you’re doing a brainstorming session , this type of concept map is a great choice. It gives you lots of flexibility, and you can keep extending your map as new ideas crop up. Alternatively, check out these brainstorming examples and techniques that can help boost problem-solving.

Design tip: create a stronger visual connection between your concepts by color-coating related nodes. For consistency, choose colors in similar tones (e.g. all pastels). Here’s a helpful guide for more advice on how to pick colors .   

2. Light reaction chemistry concept map example

Here’s an example of a concept map with a hierarchical structure. As you may have surmised, this format visualizes related concepts in a top-down fashion. The content here goes from general concepts to more specific ones the further down you read. 

Ideal for study or job aids , this particular template gives you plenty of space to include additional details about the relationship between concepts. 

Design tip: for legibility, try not to add more text to this template than the placeholder content showcases. If you need more space for your content, you can extend the page size in Venngage and add additional nodes, links and notes as needed. 

3. How does Bitcoin work concept map example

Another example of a spider concept map, this template gives you lots of room to elaborate on ideas and get creative. In addition to an intro and outro, it makes clever use of icons and illustrations to visualize the main concept and sub-concepts. 

All these elements give this concept map the feel of a bonafide infographic . All this to say, if you’re looking for an option to engage an audience, this template is a great choice.  

Design tip: when customizing the icons in this template (which you can do with a click in Venngage!), try and stick to one icon style. For example, if all your icons are flat, don’t add a three-dimensional icon to the mix. For more tips on styling icons, check out this post . 

4. Light biodiversity concept map example

I did say spider concept maps were the most popular! Here’s a more playful example of this concept map format. Again, icons paired with text make this template easy on the eyes, and of course, easy to understand. 

In educational settings, you could create a concept map like this to help students get a better understanding of a topic or study for an exam. In a business setting, this concept map could outline an organization or department’s structure. But really, you could customize this map for many different uses. 

Design tip: make sure you size your icons as consistently as possible. Consider both the positive space an icon takes up and the negative space (also called white space ) around it. If your icons are near other elements, it can actually be easier to gauge whether they’re sized properly by looking at the padding (space) around them, than just the icons themselves.  

5. Red protein biology concept map example

For the minimalist in you, this template uses succinct terminology and simple arrows to convey a complex process. The hierarchical structure here makes this simple concept map a good option for visualizing cascading steps in a process, like protein synthesis.

But you could visualize any business process in this concept map template, too. Just click create to customize away! 

Design tip: not big on red? No biggie. You can swap out any of the colors in this template with your company’s brand-approved options. In fact, with a Venngage business account, you can even change colors with a click using My Brand Kit . 

6. Dark cell biology concept map example

Hierarchy abounds! This concept map example visualizes an even more complex system with many different branches and relationships. It features strategic flourishes: the background behind the main node and the icons atop the two first nodes draw the eye to the key concepts. 

Though used here for educational purposes, you could visualize anything from company structure to the competitive landscape with this template. 

Design tip: as a rule of thumb, stick to using a maximum of two to three typefaces per design, like in this example. Any more than that and your design may become messy! For more on choosing fonts, check out this guide . 

7. Protein biology concept map example

Recognize this content? Yup, it’s the same as the minimalist example we saw above, but the design of this concept map template has a totally different feeling. It’s clean and modern, while at the same time pops of color add visual interest. 

Again, the structure here would work for mapping any business process . 

Design tip: notice how this template uses just one icon to support the main idea. Consider this clutter-free approach for more complicated concepts where icons might just create confusion. 

8. Science chemistry concept map example

Now for a new type of concept map! This example has what’s called a “system” structure. Similar to a flowchart , a system concept map branches out in a linear manner. The difference is, a system concept map is more free-form and can feature many different nodes and concept clusters.

System maps are great for mapping (you guessed it!) systems. This is a simpler example, but you can also use these types of concept maps to organize extremely complex systems, like you might encounter in software design.  

Design tip: a surefire way to make sure your color choices complement each other? Choose a one color and use varying shades of it, from dark to light. Find even more color selection tips here .  

9. Green plant biology concept map example

On the system concept map theme, here’s another example with nodes going in multiple directions. Again, you can see how this type of concept map is more free-form — the nodes and links can go in any direction necessary to represent the relationships between concepts. 

You might use a diagram like this in a classroom or in a business setting with a few tweaks. 

Design tip: add a little depth to your concept map by playing with patterns and icons with dual toned icons. You can choose from many pre-made backgrounds in Venngage or import your own. Check out this post for some simple background inspiration .

10. Large reactions chemistry concept map example

Chemical reactions take two! Though a little less traditional, you could still classify this template as a spider concept map. Between the vibrant colors and the generous use of icons, it’s certainly an eye-catching design. 

If you have a lot of text to park and you’re looking for a more casual option, this concept map template is for you.

Design tip: choose a symmetrically balanced design like this one when all the elements in your composition have equal importance. Read up on the balance design principle here .

From clarifying complex concepts and promoting memory recall to solving sticky problems and generating fresh ideas, concept maps have many uses in the realm of business. But let’s get a little more concrete about it… 

Here are a few quick examples of how businesses can use concept mapping: 

• To simplify complex topics. When onboarding new employees or training existing ones, concept maps can help you convey processes and information (and help them retain it!). 
• To make decisions. By mapping out a strategy or problem, you can identify any information or resource gaps and decide on next steps. 
• To brainstorm new ideas. Visualizing the relationship between different concepts can help you uncover new connections and, as a result, new strategies. 
• To map customer journeys. Understanding how customers interact with your brand and product is key… and with a concept map, you can create a visual representation of these journeys. 
• To facilitate communication. Concept maps can come in handy if you need to convey a vision or strategy — your team will be able to see the big picture and how everything fits together.

Concept map example FAQs

What are the types of concept maps.

There are four main types of concept maps : spider, hierarchy, flowchart and system.

• Spider concept maps feature a central concept with sub-concepts radiating outwards. This format is great for brainstorming or conveying simple concepts.  
• Hierarchical concept maps showcase a main concept on top with sub-concepts underneath. It follows that this type of map is a good choice for getting across the relative importance of concepts. 
• Flowchart concept maps organize concepts in a linear manner. Choose this type of concept map to outline processes and workflows.
• System concept maps are similar to flowcharts but more free-form with additional nodes and concept clusters. This type of concept map is the best choice for visualizing complex systems and data. 

How do you make a concept map?

There’s no hard rules that dictate how to make a concept map . But there are some general guidelines you can follow when creating your own.

Start by identifying the core concept or topic you’d like to map out. It can help to turn this concept into a focus question to better define the problem you’re trying to solve.

Next, brainstorm a list of related concepts. Write everything down that comes to mind. Organize these concepts from least to most specific.

Now you’re ready to start creating your concept map. Copy your ideas into a concept map template, connecting them with lines or arrows and linking words as you go along.

Take a step back and consider whether there are any missing links, cross-links or concepts. Once you’re happy with the contents of your concept map, add graphics, like icons and illustrations, to clarify your ideas and make your map visually appealing. 

What is the difference between a mind map and a concept map?

While both mind maps and concept maps help visually organize information, they serve different purposes.

Mind maps function like a brainstorming session, radiating outwards from a central topic to capture ideas and connections. They’re ideal for sparking creativity and generating new thoughts.

On the other hand, concept maps take a more structured approach. They are like flowcharts, with connections between concepts explicitly defined using linking words or phrases. This makes them perfect for studying complex information and demonstrating a clear understanding of how different ideas relate to each other.

What goes on a concept map?

Concept maps are made up of several key elements, including nodes (circles or squares that contain a concept), links (lines or arrows with words describing the connection between concepts) and cross-links (lines or arrows that connect concepts across a map).

A concept map may also include longer descriptions and examples, depending on the content at hand. It’s common for a concept map to feature visuals, like icons, illustrations and images as well. 

Is a bubble map a concept map?

Bubble maps and concept maps aren’t the same thing. In fact, they’re quite different. A bubble map may refer to an actual map that uses circles of different sizes to represent numeric values in various regions. Or, it may refer to a mind map style diagram that showcases related ideas.

Bubble chart mind maps are likely the version that get confused with concept maps. But as we’ve seen, concept maps also describe the relationship between concepts via linking words. Bubble maps lack linking words and the additional context they provide the reader. 

Concept maps aside, check out our guide on the best brainstorming tools that can be a game-changer for you and your team.

Make your own concept map in minutes with Venngage

You may have noticed many of the concept map examples we covered featured educational content… and this is no coincidence! 

Concept mapping has its roots in education. 

But nowadays, the practice is popular across many professions: product managers, business leaders, L&D professionals and more create concept maps to simplify information and stimulate innovation. After all, who doesn’t need to come up with new ideas? Or communicate existing ones, for that matter.

Ready to give concept mapping a try? Get a head start by choosing a Venngage template and make your own concept map for free.

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Narrative Essay Concept Map

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NURSING CONCEPT MAP AND NARRATIVE

• ASSESMENT 1 OVERVIEW Evidence-Based Patient-Centered Concept Map

Create an evidence-based, patient-centered concept map that illustrates an individualized approach to patient care, based on a patient case file of your choice. Evidence-based practice is a key skill in the toolkit of the master’s-prepared nurse. Its goal is to ensure that health care practitioners are using the best available evidence to ensure that patients are receiving the best care possible (Godshall, M., 2015.). In essence, evidence-based practice is all about ensuring quality care. In this assessment, you have an opportunity to apply evidence-based practice and personalized care concepts to ensure quality care and improve the health of a single patient. By successfully completing this assessment, you will demonstrate your proficiency in the following course competencies and assessment criteria: • Competency 1: Apply evidence-based practice to plan patient-centered care. o Analyze the needs of a patient, and those of their family, with regard to how they will influence a patient-centered concept map. o Design an individualized, patient-centered concept map, based upon the best available evidence for treating a patient’s specific health, economic, and cultural needs. • Competency 3: Evaluate outcomes of evidence-based interventions. o Propose relevant and measurable criteria for evaluating the outcomes of a patient-centered concept map. • Competency 4: Evaluate the value and relative weight of available evidence upon which to make a clinical decision. o Justify the value and relevance of evidence used as the basis of a patient-centered concept map. • Competency 5: Synthesize evidence-based practice and academic research to communicate effective solutions. o Develop a strategy for communicating with patients and their families in an ethical, culturally sensitive, and inclusive way. o Integrate relevant and credible sources of evidence to support assertions, correctly formatting citations and references using APA style. Reference Godshall, M. (2015). Fast facts for evidence-based practice in nursing: Implementing EBP in a nutshell (2nd ed.). New York, NY: Springer Publishing Company.

ASSESSMENT INSTRUCTIONS Preparation You have been presented with a number of patient case files in the Evidence-Based Patient-Centered Care media piece. You reviewed each case, selected one case for further research, and created draft evidence-based concept map to illustrate an approach to individualized care for the patient. In this assessment, you will build upon and refine your draft concept map and develop a supporting narrative. Create your concept map and narrative as separate documents. Be sure to note the areas where you need to include your evidence-based support and where you need to make clear your strategies for communicating information to the patient and the patient’s family. Note: Many organizations use the spider style of concept maps (see the Taylor & Littleton-Kearney article for an example). Also, if a specific style of concept map is used in your current care setting, you may use it in this assessment. Create your concept map and narrative as separate documents. Be sure to note the areas where you need to include your evidence-based support and where you need to make clear your strategies for communicating information to the patient and the patient’s family. Requirements Note: The requirements outlined below correspond to the grading criteria in the scoring guide, so be sure to address each point. In addition, you may want to review the performance level descriptions for each criterion to see how your work will be assessed. Supporting Evidence and APA Style Integrate relevant evidence from 3–5 current scholarly or professional sources to support your assertions. • Apply correct APA formatting to all in-text citations and references. • Attach a reference list to your narrative. Concept Map • Develop a concept map for the individual patient, based upon the best available evidence for treating your patient’s health, economic, and cultural needs. Narrative Develop a narrative (2–4 pages) for your concept map. • Analyze the needs of your patient and their family, and determine how those needs will influence a patient-centered concept map. o Consider how your patient’s economic situation and relevant environmental factors may have contributed to your patient’s current condition or affect their future health. o Consider how your patient’s culture or family should influence your concept map. • Justify the value and relevance of the evidence you used as the basis of your concept map. o Explain why your evidence is valuable and relevant to your patient’s case. o Explain why each piece of evidence is appropriate for both the health issue you are trying to correct and for the unique situation of your patient and their family. • Propose relevant and measurable criteria for evaluating the degree to which the desired outcomes of your concept map were achieved. o Explain why your proposed criteria are appropriate and useful measures of success. • Explain how you will communicate specific aspects of the concept map to your patient and their family in an ethical, culturally sensitive, and inclusive way. Ensure that your strategies: o Promote honest communications. o Facilitate sharing only the information you are required and permitted to share. o Are mindful of your patient’s culture. o Enable you to make complex medical terms and concepts understandable to your patient and their family, regardless of language, disabilities, or level of education. Additional Requirements • Be sure to include both documents when you submit your assessment.

QUESTIONS TO CONSIDER As you prepare to complete this assessment, you may want to think about other related issues to deepen your understanding or broaden your viewpoint. You are encouraged to consider the questions below and discuss them with a fellow learner, a work associate, an interested friend, or a member of your professional community. Note that these questions are for your own development and exploration and do not need to be completed or submitted as part of your assessment. Recall an experience you have had—or one that you might have observed in your care setting—in which you individualized care for a patient. • In your approach to individualized care, did you: o Address any health concerns other than those for which the patient was seeking care? o Consider the patient’s economic and daily environmental circumstances? o Consider any ethical issues inherent in working with the patient? • What might you have done differently, if you could revisit that patient’s case? • What evidence supported your original course of action? • What evidence would you present to support an alternative course of action, if you could revisit that patient’s case?

RESOURCES Required Resources The following resources are required to complete the assessment. Evidence-Based Practice • Evidence-Based Patient-Centered Care | Transcript. Introduction Concept maps are an important tool in patient–centered care planning. A concept map helps to synthesize facts about a patient’s health needs and personal circumstances with available evidence and analysis. Such a tool becomes more useful when a patient has complex health, economic, and cultural needs. In this simulation, you will be choosing a patient, conducting a short interview, and then assembling a concept map for use in that patient’s care plan.

________________________________________ Back to top ________________________________________ Overview ________________________________________ You are a nurse at the Uptown Wellness Center. As you begin your shift, you get an email from the charge nurse. Click on the icon to read it.

Good morning, We have two new patients coming in today. First is Keith Rogers; he is a young man with a recent HIV diagnosis. He has described his living situation as unstable, and he has not begun treatment for HIV. The other is Carole Lund. Carole is a new mother who had gestational diabetes during her pregnancy. She has continued to track her blood glucose postpartum, and is worried that it does not appear to be stabilizing. Please review the attached patient profiles and decide which you’d like to take on today. When you’ve decided, talk to your patient and start planning his or her care. Thanks! — Janie Poole ________________________________________ Back to top ________________________________________ ________________________________________ Keith Rogers Patient with HIV ________________________________________ Overview Reason for Referral: Keith is an 18–year–old African American man, and a recent high school graduate. He has HIV but has not been in treatment. Situation: Although he has known his HIV status for some time, Keith is here today seeking treatment for the first time. He came alone on a city bus, and he doesn’t have a state–issued ID or insurance information, although he says he does have health insurance.

Interview: How long have you known you were HIV–positive? Since this summer. They had one of those trucks outside GG’s where you can get tested for free. GG’s, that’s our club. So me and Nick, we go get the test and it was positive. They gave us these pamphlets after, but I can’t leave stuff like that around the house. My folks didn’t know about me and Nick. So I trashed those pamphlets on the way home. That was…like six months back I guess. Since you haven’t been in treatment, have you been doing other things to protect your health? Yeah. So here’s the thing about that. Nick says he read on the Internet that meth is supposed to help. Like methamphetamines. And you don’t have to do very much and it slows it down so you don’t get sick as fast, but doctors can’t prescribe it because it’s illegal. So we tried that. Nick thinks it’s working, but I don’t know, man. It makes my heart beat real fast and that freaks me out. He’d be mad if he knew I told you that, like maybe someone’s gonna show up at the house and bust us. I guess I don’t care anymore. At intake you described your living situation as “unstable.” Can you tell me more about that? I’m at Nick’s right now. Mom threw me out of the house. I was…like, trying to find a way where I could get a test that wasn’t in front of a gay club, right, cuz…my folks just ain’t ready for that much truth, you know? So we’re at the clinic, and I get the test, and they call Moms in because technically I’m still a minor at that time, and we’re talking with the nurse or whoever and it just kinda comes out. How I got it. She hit the roof. I don’t think that’s why she threw me out, though, even though at church they say it’s a sin. She’s scared. Everyone is scared. I got little sisters at home, Alexa and Marnie, and we only got one bathroom. It’s like…maybe I’m allowed to go ruin my life and they still love me and pray for me, but if I gave it to the girls…that they could never forgive. So I’m sleeping on the couch at Nick’s place. His folks don’t want us sharing a bed, but they feed me and stuff. I don’t even know if Nick told them what’s up, so I just keep my mouth shut. If we break up over this, I’m in so much trouble. What do you feel is the most important thing we can do to help you right now? Well. I have like five hundred dollars in the bank that I got for my birthday, but HIV drugs have gotta cost more than that. I’m under Dad’s insurance still, until I’m 25 I think. But I remember when my sisters were born it was so expensive anyway, and I’m scared that if the insurance company finds out, like…I have a terminal illness…that’ll just bankrupt the whole family. I can’t do that to them. So I guess the first thing is, like, can you help me figure out how to do this without hurting anybody? ________________________________________ ________________________________________ Back to top ________________________________________ Carole Lund Patient with Diabetes ________________________________________ Overview Reason for Referral: Carole Lund is a 44–year–old woman of mixed Native American and European descent, and a new mother. She is concerned that she is not recovering from gestational diabetes. Situation: Carole is here with her daughter, Kassandra, who is 10 weeks old. Carole was diagnosed with gestational diabetes at week 30 of her pregnancy. She has carefully logged her blood glucose since the diagnosis, and it shows 150–200 fasting, over 200 following meals.

Interview: What diabetes treatments did you receive during your pregnancy? Well, they gave me a glucometer, so I started using that. I could see right away that the way I was eating was a problem; I would usually work straight through the day and then have one big meal in the evening, and that was making my numbers bounce all over. So I set alarms on my laptop, so three times a day I would get interrupted, have a small meal, take a short walk, and then test my blood sugar. That helped. And then I stopped drinking juice and soda, which I should have done years ago, and that helped too. But I don’t think my numbers improved as much as my OB/GYN wanted them to, but she said my blood sugar should return to normal after delivery. Did your obstetrician advise you to take insulin during your pregnancy? She did, yeah, and we talked about it. I don’t like the idea of being dependent on a drug. I called my mother. She’s still on the reservation, so she called the elders, and we all agreed that injecting my body with an animal hormone was a bad idea. But then the doctor told me that they make synthetic insulin now, but that means it’s made in a laboratory somewhere, and I’m not sure that’s any better. By then I was in my third trimester, and all the tests said Kassandra was big but healthy, so I thought we would just ride it out. It was supposed to clear up after she was born. But it hasn’t, and I know you have to be careful having a baby at my age. I want to do what’s best, but I don’t want to believe that insulin is my only option. Are there any challenges in your life which you think may be interfering with your ability to follow a treatment plan? It’s harder now than it was before she was born. It’s just the two of us in the apartment, which is wonderful, but I don’t remember the last time I had a good night’s sleep. A lot of my work is freelance, so I make my own hours, but that also means if I’m not working I don’t get paid. I had family help while I was recovering from the C-section, and they helped cook healthy meals for me, and kept me on my schedule. Now it’s all on me — work, caring for my daughter, and managing my blood sugar. If I fall behind on anything, it will be looking after my health. Do you have any other concerns you’d like to have addressed? I worry about Kassandra. She’s healthy and perfect, but I know that she’s at a greater risk for developing Type 2 Diabetes. I want to do whatever I can to reduce that risk, to care for her, and as she grows, to teach her how to care for herself. ________________________________________ ________________________________________ Back to top ________________________________________ Concept Map ________________________________________ Check–in Janie Poole Charge Nurse Well, it sounds like this is a more complex case than we thought at first. I’m going to need you to put together a concept map for your patient’s care plan. I need a brief description of your patient, and then up to five diagnoses (there may not be that many). Go in order of urgency, and make sure you list the professional or scholarly evidence you used to formulate the diagnosis. Just use in–text citations, please; we want to keep this short and sweet. Thanks for taking this on! • Patient Info: • Most Urgent Nursing Diagnosis: o Description Urgent: • Treatment Urgent: • Outcomes Urgent: • Other Urgent: • Nursing Diagnosis 2: o Description 2: • Treatment 2: • Outcomes 2: • Other 2: • Nursing Diagnosis 3: o Description 3: • Treatment 3: • Outcomes 3: • Other 3:

________________________________________ ________________________________________ Conclusion Using a concept map to plan a patient’s care can be essential when the case and the patient’s overall needs are complex. In this simulation, you’ve used the details of a patient’s case to draft a concept map for his or her care. Click the button below to download the text for your concept map draft. You will use this text to create a final concept map for your assignment in this unit. After you’ve downloaded your text, you will put it into a concept map template. You may use the template provided in the assignment, another template, or your own concept map format for your final map. Click any heading in your concept map to reveal the complete content. ________________________________________

Suggested Resources The resources provided here are optional. You may use other resources of your choice to prepare for this assessment; however, you will need to ensure that they are appropriate, credible, and valid. Evidence-Based Practice • Godshall, M. (2015). Fast facts for evidence-based practice in nursing: Implementing EBP in a nutshell(2nd ed.). New York, NY: Springer Publishing Company. o Read Chapter 7. • Blix, A. (2014). Personalized medicine, genomics, and pharmacogenomics: A primer for nurses. Clinical Journal of Oncology Nursing, 18(4), 437–441. • Baker, J. D. (2017). Nursing Research, Quality Improvement, And Evidence-Based Practice: The Key To Perioperative Nursing Practice: Editorial. Association of Operating Room Nurses, 105(1), 3. • Hain D. J., & Kear, T. M. (2015). Using evidence-based practice to move beyond doing things the way we have always done them. Nephrology Nursing Journal, 42(1), 11–20. • Evidence-Based Practice in Nursing & Health Sciences: Review Levels of Evidence. • Evidence-Based Practice in Nursing & Health Sciences. • Evidence-Based Practice: What It Is and What It Is Not | Transcript. Concept Mapping • Concept Maps. o This resource provides a general overview of concept maps. The guide is not specific to nursing, but may prove helpful to the initial conceptualization of your assessment. • Taylor, L. A., Littleton-Kearney, M. (2011). Concept mapping: A distinctive educational approach to foster critical thinking. Nurse Educator, 36(2), 84–88. o This article will help you decide how you would like to structure and conceptualize your concept map. • Concept Map Template [DOCX]. • Concept Map Tutorial | Transcript. o Information on working with the concept map and template to complete your assignment. Research Guides • Nursing Masters (MSN) Research Guide. • Database Guide: Ovid Nursing Full Text PLUS. • Kaplan, L. (n.d.). Framework for how to read and critique a research study. Retrieved from https://www.nursingworld.org/~4afdfd/globalassets/practiceandpolicy/innovation–evidence/framework-for-how-to-read-and-critique-a-research-study.pdf APA Style • APA Module. o Capella provides a thorough selection of online resources to help you understand APA style and use it effectively.

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Theater and Politics in Socialist China: A Review Essay

MCLC Resource Center is pleased to announce publication of Letizia Fusini’s review essay, “Theater and Politics in Socialist China,” which treats recently published books on modern Chinese drama by Maggie Greene, Siyuan Liu, and Xiaomei Chen. The review appears below and at its online home: https://u.osu.edu/mclc/book-reviews/fusini/ . My thanks to Jason McGrath, our soon-to-be-former book review editor for media, film, and drama studies, for ushering the review to publication.

Kirk Denton, MCLC

Resisting Spirits , by Maggie Greene Transforming Tradition,  by Siyuan Liu Performing the Socialist State , by Xiaomei Chen

Reviewed by Letizia Fusini MCLC Resource Center Publication (Copyright May, 2024)

Maggie Greene, Resisting Spirits: Drama Reform and Cultural Transformation in the PRC Ann Arbor: University of Michigan Press, 2019. 260pp ISBN: 9780472074303 (hardcover)

Siyuan Liu, Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s Ann Arbor: University of Michigan Press, 2021. 472pp. ISBN: 9780472132478 (hardcover); 9780472128723 (ebook)

Xiaomei Chen, Performing the Socialist State: Modern Chinese Theater and Film Culture New York: Columbia University Press, 2023. 384pp. ISBN: 9780231197762 (hardcover); 9780231552332 (ebook)

Nearly a decade ago, in Autumn 2016, I had the opportunity and the privilege to teach an undergraduate survey course on the history of Chinese theater, the only one of its kind in the UK back then. I was a freshly minted PhD graduate and that was my first teaching post. Aside from developing my lecturing skills, the main challenge was to find creative strategies to make the subject more accessible to students who were majoring in theater studies and knew almost nothing about Chinese culture and history. The task became even more daunting when, due to time constraints, I had to condense the history of the rise of modern drama ( huaju  话剧) and the transformations of classical theater ( xiqu  戏曲) throughout the late-Qing, Republican and early socialist epochs within the space of a couple of hours. Since I wanted to avoid information overload, I began to look for a unifying thread that could hthelp me connect these three periods and, in my research, I came across an excerpt from a text written by Chen Duxiu 陈独秀 in 1904, where the future founder of the CCP eulogizes theater as the best “vehicle for social reform” (120), tracing the paternity of this idea to Confucius, who once said that “nothing is better than  yue  [乐, the performing arts  lato sensu ] at transforming social conventions” (118). These thoughts, written just before the dawn of the Republican period and yet rooted in the Confucian tradition, prefigured the  Zeitgeist  of the New Culture and May Fourth Movements, which, in turn, would be lauded by Mao Zedong in his essay “On New Democracy” as “having pioneered an unprecedentedly great and thoroughgoing cultural revolution” (361) whose only fault was that it failed to serve the interests of the masses of workers, peasants, and soldiers. Through these connections, I was able to visualize the (r)evolution of Chinese theater in the first half of the twentieth century as a tree growing out of Confucian roots and projecting its branches and foliage in a Marxist direction culminating with the Cultural Revolution of 1966-1976. My goal was to convey to my students the impression I had gotten vis-à-vis that short statement by Chen Duxiu about the power of theater to effect social change. The fact that in China, the attribution of a pedagogic and political function to theater is a traditional concept rather than a twentieth-century novelty, hence not an exclusive prerogative of the Communist period or of the Cultural Revolution, was the unifying thread I was looking for. What was initially a mere perception on my part, found confirmation in Richard Schechner’s foreword to the collection in which I originally found Chen Duxiu’s text, where he notes that “the roots of Mao’s attitude—that theater is an excellent educator and that rulers ought to use it as such—go deep in Chinese history. From an early date, theater was seen as a way of reaching ordinary people who could not read” (x).

Schechner’s remark can open up an intellectual space for conceiving and understanding the transformations of Chinese theater(s) in the modern era as a holistic phenomenon that bridges different epochs. Quite recently, arguments that endorse and further develop this kind of perspective have been advanced, in a more extensive manner, by eminent scholars of Chinese drama and performance in three book-length studies published between 2019 and 2023. These are, by order of publication, Maggie Greene’s  Resisting Spirits: Drama Reform and Cultural Transformation in the PRC  (2019), Siyuan Liu’s  Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s  (2021), and Xiaomei Chen’s  Performing the Socialist State: Modern Chinese Theater and Film Culture  (2023).

Although they focus largely on the theater of the high socialist period (1949-1966), these studies ultimately regard the latter as coterminous with the drama reform of the Republican age, as foreshadowing the model operas of the Cultural Revolution period, and as extending its legacy into the post-Mao era (which they also touch on).

Before undertaking a comparative commentary of these books, I provide a brief summary and a preliminary evaluation of each, with a particular discussion of the extent to which their findings appear to converge, as well as highlighting the specificities of their critical approaches.

Greene’s monograph  Resisting Spirits  reconstructs the vicissitudes of ghost opera (鬼戏) during the high socialist period (1949-1966), and, more succinctly, in the early post-Mao era when literary ghosts started to reappear on Chinese stages following an almost two-decade ban (issued in 1963). More specifically, Greene examines the reception of three different adaptations of a Ming-dynasty canonical play titled  Story of Red Plums  whose original plot involves, among other things, the execution of a young concubine (Li Huiniang 李蕙娘) who returns to the earth  post-mortem  in ghostly form to avenge herself on the ruthless prime minister who had condemned her to death. Two of the dramatic texts under scrutiny in this study are Ma Jianling’s 马建翎 1953  Wandering West Lake  (游西湖) and its 1958 revised version, while the third is Meng Chao’s 孟超  Li Huiniang  李蕙娘, which premiered in 1961 and, together with Wu Han’s 吴晗 Hai  Rui Dismissed from Office  (海瑞罢官) and Tian Han’s 田汉  Xie Yaohuan  谢瑶环, contributed to the outbreak of the Cultural Revolution. Moreover, the book’s final chapter is devoted to probing the afterlives of  Li Huiniang  at the dawn of the postsocialist age, particularly through analysis of an award-winning 1981 production starring Hu Zhifeng 胡芝风 and the related critical reviews. As Greene explains in the introduction, although ghosts and ghost plays are the titular subject matter of the book, they play an auxiliary role in her analysis, which is primarily aimed at opening up new views on how cultural workers reinterpreted and reused valuable material from China’s classical literary canon to suit the needs of a society that was transitioning into a new era as well as the demands of a ruling party that looked suspiciously at what it considered to be the relics of a feudal past. As a matter of fact, Greene selected ghost opera because it “had occupied an important role in the cultural and political discussions between 1949 and 1963” (12), thereby providing “a fascinating lens through which to view the high socialist period” (13). In other words, ghost opera and the intellectual discourse generated by its reuses as a form of new historical drama in the early years of the PRC is employed as a  method  to shed light on a particular area of drama reform which, however limited in scope, can provide further insights into broader cultural discussions concerning the distinction between superstition and mythology, and the relevance of ghostly characters to the promotion of class struggle among the laboring masses.

The volume makes an important contribution to questions of historical periodization as regards the PRC’s transition from a revolutionary to a post-revolutionary society. It effectively challenges the pre- and post-Great Leap Forward divide and debunks the myth of the Cultural Revolution as an isolated period in the history of the PRC. It also contributes, to a degree, to “depoliticizing” the received narrative of drama reform and cultural transformation in the high socialist period by telling what Greene defines as “the other side of the story”—that is, by laying bare the creative and aesthetic efforts of writers and critics in forging a new socialist literature that was meant to be not only ideologically correct, but also artistically satisfactory. She convincingly shows that cultural elites had a genuine interest in protecting the national literary heritage from being severely pruned, if not totally eradicated, which was not at all an easy task given that it entailed a constant negotiation among ever-shifting party policies, colleagues’ criticisms, collective concerns, and individual aspirations. Moreover, on account of the selected case studies, Greene’s book effectively foregrounds ghost opera as having played a major role not only in determining the direction of drama reform in the mid–twentieth century, but also, albeit indirectly, in contributing to the radicalization of the political atmosphere in the run-up to the Cultural Revolution.

Siyuan Liu’s volume  Transforming Tradition  is a monumental study tracing the origin and development of the CCP-led  xiqu  reform campaign during the high socialist period. As Liu’s thorough and impeccably researched analysis shows, this largely top-down reform process resulted, within a relatively short time span of seventeen years, in a radical alteration of the nature of classical Chinese theater’s dramaturgies and performance methods as well as in mutilating what he terms “ xiqu ’s entire ecosystem” (329). The book provides a comprehensive documentary history of this phenomenon, which Liu interprets through a multifarious theoretical framework combining concepts of historicism, gentrification, and colonial modernity with “additional influences from Marxist materialism and the Soviet Union” (18). Consisting of six ultra-dense thematic chapters, which examine the main initiatives aimed at purifying  xiqu  from its allegedly feudal, primitive, bourgeois, and even colonial elements and in a spirit (and language) that consistently echoed May Fourth intellectuals’ semi-iconoclastic critiques, the book identifies a thread of continuity between two ideologically divergent periods of China’s twentieth century, the Republican and the Communist eras. As a matter of fact, attempts at making  xiqu , and particularly  jingju  (京剧), more “modern” and “realistic” in its content and stage design yet without sacrificing its distinctive and time-honored art had been tentatively implemented through the collaborative efforts of Mei Lanfang 梅兰芳 and Qi Rushan 齐如山 over two decades between the late 1910s and the early 1930s. Through meticulously reconstructing the dynamics of what was presented in 1951 as a project based on a “three-pronged approach” (改人, 改戏, 改制, i.e. reforming practitioners, repertoire, and organizational structure), Liu cogently shows that the CCP-affiliated reform leaders took over from where Mei and Qi had given up. Their strategy was partially informed by cultural and diplomatic aspirations reminiscent of those underlying the May Fourth intellectuals’ advocacy for a theatrical (r)evolution, which would later result in the emergence of spoken drama, and of those of the Mei-Qi duo who, in an attempt to refashion  jingju  as China’s national theatrical tradition par excellence, sought to accentuate its quintessential characteristics, especially its visual appeal, to help refashion China’s image in the West. Nevertheless, unlike Mei Lanfang who, as a fully trained  jingju  actor had become increasingly aware of the risks associated with modifying the fundamental principles of  xiqu , their lack of technical and artistical expertise prevented them from predicting the negative effects of a reform that was  de facto  not only ideologically biased but also totally disconnected from the practical realities of  xiqu .

Liu’s study, which relies on a rich array of textual and visual archival sources never previously referenced in anglophone research, illuminates a complex example of a politically driven, all-encompassing theater reform and its problematic legacy that affects present-day practice. It achieves this goal by documenting in-depth the theoretical basis and practical aspects of the reform process, giving equal attention to content and form as the true pillars of  xiqu ’s edifice, and devoting adequate space to exploring ways in which regional genres ( difangxi  地方戏) were also targeted. Aside from making a substantial contribution to advancing the field of Chinese and theater studies, the volume also offers valuable insights into the landscape of global intercultural theater studies. Specifically, Liu develops Min Tian’s (2008) view of Chinese theater’s interculturation of Western theater in the twentieth century as a case of cultural displacement that entails both constructive and destructive effects on the tradition. “Displacement,” according to Tian, is the result of a process whereby “the Other is inevitably understood, interpreted, and placed in accordance with the aesthetic and artistic imperatives of the Self pertaining to its own tradition and its placement in the present, irrespective of the extent of the Self’s true knowledge of its Other” (Tian 2008: 6). In the case of Communist-era  xiqu  reform, as Liu insightfully shows, not only was the Other (i.e., Western realism, Marxian historical materialism, and the Stanislavsky’s system of psychological realism) displaced in an attempt to “gentrify” the indigenous tradition, but it was that very same tradition that was originally displaced, or misinterpreted. Quite fittingly, in defining the mid-century  xiqu  reform as a case of “gentrification,” Liu points out that, while the various targeted components of  xiqu  can be equaled to “displaced residents” of a “deteriorating area that needed salvation,” “it may be more accurate in many cases to describe the components as being  decentered  rather than displaced” (2). Liu’s meticulous analysis of how CCP reform policies weakened the centrality of the actor in the creative process of  xiqu  and in determining audience appeal, provides confirming evidence of and further elaborates on Min Tian’s earlier observations on the detrimental consequences of imposing a “naturalistic modernization” (173) on  xiqu  acting style through an ideological use of the Stanislavski system.

Moving on from  xiqu  to its “modern” counterpart, Xiaomei Chen’s monograph  Performing the Socialist State  is a two-part critical history of  huaju  from its beginnings in the late-Qing and Republican period to the twenty-first century. As its title suggests, the bulk of the book is devoted to the theater and film culture of the high socialist period and its impact on the post-Mao age. The Cultural Revolution period is not included in the discussion because the author has already dealt with it in a previous publication (Chen 2002) and because of the abundance of excellent scholarly studies on the topic. However, before delving into the  minutiae  of “Chinese Socialist Theater and its afterlife” through an intriguing selection of so far less-studied genres, plays, and topics, the author devotes the first three chapters that constitute Part I to reconstructing the lives and careers of the three individuals who are officially considered to be the founding fathers of Chinese spoken drama: Tian Han (1898-1969), Hong Shen 洪深 (1984-1955), and Ouyang Yuqian 欧阳予倩 (1889-1962). Grouping these playwrights together as “a unique trio” (8) allows Chen to highlight the various ways in which they contributed to bringing theater closer to the people well before the Communist takeover, and how they continued to put their creativity and their individual initiative in the service of the socialist cause and for the betterment of Chinese society. By starting off with an examination of the three founding fathers’ respective achievements as eclectic representatives of the hybridized literary, theatrical, and cinematic culture of the early Republican age, Chen lays the foundation for the ensuing discussion in Part II, where she essentially argues that Chinese socialist theater was born from the leftist cultural tradition the three “partially” created (8). Furthermore, their works and those of other leading Republican-era playwrights are mentioned at various places in part II as well, in connection with analogous plays of the socialist and postsocialist periods, to show the extent to which the latter can be said to have perpetuated and further developed a set of pre-existing genres, styles, and thematic concerns born out of the experimental practices of the early decades of the twentieth century. Hence, although the book is primarily focused on emphasizing the legacies of three key figures of the  huaju  tradition, whose personal stories are used as “threads for discussion between various periods, histories, and ideologies,” the book is not as “limited” (12) as the author laments, for at least for two reasons. First, Chen manages to include an impressive range of other important twentieth-century playwrights and plays that constitute the history of  huaju , hence interspersing the discussion with a wealth of comparative links. Second, she has further enriched it with an interdisciplinary perspective, first by opening each of the eight chapters with a classic red song—ranging from “The March of the Volunteers” to “The Internationale”—and then by discussing the interweaving relationship between mediascapes and soundscapes in the transition from a pre-revolutionary to a post-revolutionary China. The book’s final chapter, which examines the reception of “The Internationale” and its constant repurposing over the course of 100 years, not only shows the extent to which a single text can be adapted to express opposing ideologies or to critique the dominant discourse, but also provides further confirmation of the formidable power of the Confucian concept of  yue  in forging a collective spirit of adherence to the status quo and, at the same time, promoting new cultural impulses that seek to challenge that very status quo.

Chen’s volume has an impressive breadth and depth that the title and cover image do not adequately anticipate. Although a substantial part of the book is indeed about theater and film culture of the socialist age, the title and cover, which may be important from a marketing perspective, fail to capture what is arguably the heart of its narrative—namely, the consistent references to how Tian Han’s, Hong Shen’s, and Ouyang Yuqian’s artistic endeavours in the Republican era paved the way for the creation of a socialist performance culture that has not vanished despite the PRC’s transition to a capitalist economy and the advent of a consumerist society. This is all the more true given that, as the author asserts, one of the main goals of the book is to deconstruct the ways in which the image of the three pioneers of  huaju  has been distorted in post-Mao Chinese-language scholarship, where they are seen alternatively as perpetrators or as victims of the socialist regime. Among the many insights that can be gleaned from this study, the most noteworthy one in my opinion is the revelation that there exists a profound link between, on the one hand, the aesthetic liberalism and critical realism of the Republican age and, on the other, the commitment to ideological purity and political correctness of the high socialist period, an indissoluble binary that continues to inform contemporary Chinese theaters into the new millennium. As the chapter on Meng Bing’s 孟冰 soldier plays and history plays shows,  huaju , in its contemporary incarnation, has not relinquished its original mission of creatively enacting a social criticism while still appealing to a mass audience. As in Meng’s specific case, the legacy of his three illustrious predecessors has been carried forward by expanding the socialist realist tradition as a means of exposing, in an ingenuously subversive yet aptly surreptitious way, the CCP’s inability to fulfil the promises of freedom, equality, and democracy that motivated, amongst other things, the rise of modern drama over a century earlier.

A major common denominator of these books is that they view the developmental trajectory of Chinese theater (both classical and modern) during the high socialist and, to a degree, postsocialist periods as largely a continuation of the reform projects advocated by intellectuals of the early Republican period that were predicated on a tradition/modernity divide. Throughout the twentieth century, whether it was about reforming  xiqu  or inventing and perfecting a new genre such as  huaju , intellectuals, playwrights, and cultural workers had to navigate a complex and unstable social, cultural, and political environment that required them to balance the competing demands of artistic innovation and political correctness, with uneven results.

These studies employ different methodologies that help rethink the commonly accepted standards of periodization of China’s twentieth-century drama and performance culture.

Greene’s text-based analysis of how ghost plays were revised and discussed between the 1950s and the early 1960s is informed by the methodology of “surface reading,” which “accounts for what is in the texts without construing presence as absence or affirmation as negation” (Best/Marcus 2009: 12). As opposed to “symptomatic reading,” which actively looks for a meaning that is not explicitly stated by the text or the author, surface reading does not wrest meaning out of a text and does not assume priority of subtext over text. By looking at the surface of the discourse on ghost opera and by interpreting ghostly characters as literary fantasies rather than as carriers of implicit political messages, Greene convincingly questions the claim that ghost play adaptations written in the early 1960s—like Meng Chao’s  Li Huiniang —were meant primarily as vehicles for veiled criticism in regard to the catastrophic consequences of the Great Leap Forward. Although she does not deny that these plays may have also been created to express their authors’ political views, she is right in cautioning against the reductionism that may develop from such an interpretation, because it fails to acknowledge not only their literary quality, but also the fact that a large part of the debate was focused on tackling cultural and ideological issues that were unrelated to the economic policies of the time. Hence, this method allows Greene to situate the debate on ghost drama within a “longer literary time that connects the Mao era with a deeper cultural past” (16) and to disentangle it from the various political campaigns of the high socialist period.

Liu, too, views the reform of traditional theater in the Communist era as part of a much broader phenomenon that predates the Communist takeover and whose roots go back to the Self-strengthening Movement of the late-Qing period, which led to the systematic study of Western culture, opening the doors to a wealth of fresh ideas, styles, and critical approaches, including a new vision of history as a linear and teleological process. Nevertheless, his interpretation of the mid-century  xiqu  reform campaign as “a case of historicism” and “as part of the global modernity project” (18) is potentially problematic, not only because “historicism” is a highly elusive concept, but because the definition he relies on, which is drawn from Dipesh Chakrabarty’s  Provincializing Europe: Postcolonial Thought and Historical Difference  (2000), connects historicism with European Enlightenment, a connection that is contradictory. The fact that  xiqu  was considered old and stagnant during the May Fourth era, and vulgar, formalist, and ideologically immature in the high socialist era, and therefore needed to “evolve” or, as Liu contends, to be “gentrified,” by following the example set by Western theater and by incorporating Western elements, can be better explained as a case of cultural Darwinism (paired up with historical materialism). Unlike the Enlightenment, which aspired to find “some eternal and universal Archimedean standpoint by which they could judge all specific societies, states and cultures” (Beiser 2011: 11), historicism argues against the existence of such universal values and aims to trace “the historical development of specific cultures rather than . . . the construction of a grand evolutionary account of the progress march of Culture” (Smith, “Historicism”). In my view, it would be more appropriate to replace (or integrate) the historicist frame with one based on cultural Darwinism, along the lines of the “adaptive comparative method” proposed by Sowon S. Park to study the Westernization of East Asian literatures in the modern era. Such a frame, which proposes to interpret Westernization as a means of gaining a competitive edge over the West rather than as a form of submission to colonial imperatives, would allow for a better understanding of the reasons why Republican-era and Communist-era discourses on the necessity of  xiqu  reform can be said to represent two faces of the same reality or, better still, two different stages of the same program of artistic development and cultural acquisition. When Hu Shi 胡適 stated that China lacked a sense of literary evolution and that Chinese theater could be reformed only by engaging with the most advanced forms of foreign drama, which would have to be examined through a comparative perspective and with the aim of injecting “some youthful blood from Western literature” (Hu Shi 1996: 116), he was not endorsing a colonial vision of literary evolution but was proposing that Chinese culture voluntarily adapt to Western standards in order to survive and thrive. As such, he was laying the foundation of Mao’s later advocacy for a new democratic culture that “opposes imperialist oppression and upholds the dignity and independence of the Chinese nation” (367), a formulation which, as Liu notes, set the tone of the debate guiding the 1950s  xiqu  reform campaign.

Although she does not explicitly acknowledge a specific theoretical and methodological framework for her analysis of the development of modern Chinese drama, Chen explains why she decided to adopt “a holistic view that bridges the Republican and PRC periods” (7) and a thematic approach in lieu of a strictly chronological one. Essentially, her goal is to offer a multifaceted and interdisciplinary critical history that is accessible to a nonspecialist readership and includes a range of authors, works, and practices. As she notes in the introduction, one of her main motivations for attempting what she calls “an almost impossible task” (7) is the realization, through her teaching and research, of the continuous relevance of early  huaju  works to contemporary times as attested by the many productions and rewritings of  The   Black Slave Cries Out to Heaven  (黑奴吁天录), a rendering of  Uncle Tom’s Cabin  that is one of the foundational pieces of Chinese spoken drama, through the socialist and postsocialist periods. It seems to me that the choice of case studies for part II is also instrumental in strengthening the effectiveness of Chen’s holistic perspective. In chapter 4, for example, she examines the rise of one-act satirical comedies (独木讽刺戏剧) of the mid-1950s as an example of “socialist critical realism” and views them as carrying forward the legacy of Yang Jiang’s 杨绛 and Chen Baichen’s 陈白尘 comedies of the Republican period, which exposed the hypocrisies and corruption of Chinese society under the Nationalist regime. Similarly, in chapter 5, which focuses on the representation of women characters in a series of red classic films and performances, she shows how these works are steeped in the tradition of early-twentieth century feminist theater inspired by Ibsen’s Nora and nurtured by burgeoning leftist ideologies, and how they were resurrected and refashioned in the postsocialist period in an effort to combine aestheticization with a renewed revolutionary spirit. The remaining chapters are organized, again, around a particular genre or theme that is examined across the socialist and postsocialist periods and are interspersed with references to the pre-1949 era history and performance culture.

Another aspect that emerges from a comparison of these three studies is that, despite the gradual tightening of the political and ideological climate over the course of the high socialist period, the debates on drama reform and the creation of new dramas went on undeterred, albeit in a cyclical, nonlinear manner, until the start of the Cultural Revolution, suggesting that artists and critics managed to find a space to exercise their freedom of expression despite party-imposed restrictions. They were perhaps aided by the fact that until the early 1960s there was considerable ambiguity as to the direction in which the CCP intended to steer cultural production and as to how to interpret Mao’s early recommendation “not to reject the legacy of the ancients” and later encouragement to criticize the wrongdoings of CCP officials. As Chen points out, the early 1950s saw the creation of several plays that cannot be categorized as fully “red” but that embody “all colors, red, gray, black, and every other spectrum in between” (153). On a similar note, Greene’s analysis shows that the debate on ghosts was multifarious and dynamic. It encompassed competing views, and, over the years, the focus shifted from discussing the suitability of supernatural literature and drama to determining how ghostly characters should be presented to audiences, whether as role models of class struggle or as symbols of feudal and bourgeois enemies. The CCP-led reform of  xiqu , too, was implemented amid several rounds of debates and generated criticisms and negative reactions from artists, intellectuals, and audiences, though they did not manage to mitigate the disastrous effects of the top-down decisions taken by reform leaders and (often irresponsibly) enforced by local cadres. As a matter of fact, while the process had a fluctuating course as it shifted between radical and liberal phases (the latter occurred in 1957 and between 1960 and 1962), in general, it followed a unilateral trajectory that resulted in an excessive accentuation of the didactic and ideological function of theater and in a reduction of its most spectacular and ludic aspects.

Another aspect that links Greene’s and Liu’s studies concerns their shared findings on the paradoxical and ironic consequences of censorship and self-censorship processes aimed at bestowing a layer of ideological correctness on a canonical play’s content. Greene’s choice of case studies blatantly shows that an overzealous approach consisting in excessive plot excisions and modifications for the mere sake of achieving ideological purity could result in grossly distorting the nature of the text to a point verging on the absurd. As can be seen from Ma Jianling’s early attempt at producing a socialist-flavoured version of a pre-modern ghost play, his radical decision to eliminate the ghost to avoid fostering superstitious beliefs triggered a wave of severe criticism from various intellectuals who pointed out that in the original play the ghost was shown to stand up against injustice and feudal oppression and it was therefore imperative to keep it. Ironically, the old text, albeit anchored in pre-socialist culture, was deemed more ideologically sound than its modern-day version, which looked unreasonably mutilated. An analogous case is represented by the so-called  badana  (八大拿) plays, which formed part of the foundational repertoire of  jingju wusheng  (京剧武生) actors and were banned, like ghost drama, after 1963, after having been heavily abridged to expunge parts of the content that were considered reactionary and pernicious. The censoring of these plays’ contents, which entailed altering the plot and removing key scenes, resulted in an excessive simplification of the actors’ training practices, which, in turn, affected the artistic quality and believability of their performances. This is because  xiqu  is a totalizing kind of theater where content determines form and vice versa. As a matter of fact, the  badana  plays, which Liu intriguingly associates with Greek tragedy for their emphasis on portraying conflicts and dilemmas, attach great importance to the actors’ facial expressions and physical actions not as mere manifestations of skill but as a sophisticated means of conveying the characters’ nuanced psychologies. Similarly, as Liu rightfully notes, the ideological attack on  xiqu ’s distinctive theatricality, which was erroneously equated with “formalism,” involved the further curtailing of fundamental scenes, the flattening of key characters’ personalities, and even the elimination of a range of centuries-old conventional performance techniques and gestures, which were replaced with a realist and lifelike performance style based on Stanislavsky’s brand of psychological realism. These measures proved detrimental to the integrity and authenticity of  xiqu  because they ultimately resulted in disconnecting form from content and, by depriving the actors of their ability to strike a balance between prescribed manners and personal inventiveness, made the art of  xiqu  degenerate into something artificial and incapable of achieving genuine characterization. The fact that the adoption of Stanislavsky’s realism failed to enhance  xiqu  actors’ impersonation skills and instead caused them to feel impeded and unnatural confirms Huang Zuolin’s insightful remark that the attempt to create a fourth wall, “an illusion of real life on stage . . . imposes limitations, restricting us by the framework of the stage and thereby seriously hampering creativity” (Huang 1999: 156). Min Tian, too, points out that although, and contrary to what Brecht assumed,  xiqu  actors do identify with the role, their way of combining “the ‘inner technique’ of introspection with the outgoing technique of representation,” as Huang Zuolin (1999: 157) put it, is not consistent with the principles of Stanislavsky’s realism because the latter does not aim for “beauty and refinement” (171). As Li Yu 李渔, an illustrious writer and drama theorist of the early Qing period stated in his monumental work  Casual Notes on a Leisurely Mood  (闲情偶寄, 1671), “there is a difference between manners in real life and those on the stage” (Li Yu 1999: 87).

On the whole, by foregrounding the continuities in the development of Chinese theater across distinct periods of modernity (Republican, socialist, and postsocialist) and by considering the impact of Communist-era theater reforms on contemporary performance culture (even if succinctly), these three studies variously testify to the complexities and contradictions of the relationship between art and politics and between tradition and innovation. Moreover, they give evidence of the extent to which censorship practices can or cannot sanction a definitive break with the past. Considering the first two aspects, Chen’s final chapters, especially the one on Meng Bing and the one on sonic theater, demonstrate that contemporary Chinese artists continue to be driven by the same ideals that motivated the founding fathers of  huaju , while also seeking new avenues and strategies to express their vision and produce works that satisfy the authorities as well as audiences. As for ghost plays, as Greene illustrates in her final chapter, they never disappeared from the Chinese stages despite several attempts at casting them in a bad light that culminated in the 1963 ban. As the title of her book suggests, not only have these supernatural figures consistently embodied a spirit of resistance to evil and oppression, they are also part of an undying legacy that, although crippled during the high socialist period, has managed to regain its original status in the postsocialist era and is now associated more with the world of phantasy and entertainment than with the pedagogical function imposed on it between 1949 and 1962. The same, however, cannot be said for  xiqu  more generally. In the concluding chapter of his book, Liu offers a detailed analysis of a 1959  jingju  production of  The Battle of Red Cliff  (赤壁之战) and of the ensuing debate as a means of assessing the results of the reform campaigns, given that in that year the CCP had announced the completed nationalization of private  xiqu  companies. The fact that this production was generally found disappointing due to the adoption of a historical materialist perspective that encumbered the pace of the story, weakened characterization, and destroyed entertainment, testifies to the failure of this reform process, which, as Liu repeatedly points out, was guided by ignorance of the true essence of  xiqu  and a wilful bias against its supposed primitiveness. Liu’s concluding remarks extend to  xiqu ’s contemporary ecosystem, which he dismally but realistically defines as “the legacy of a seventeen-year tradition” (331) that managed to radically (and perhaps definitively) steer the course of an ancient art form. Finally, and contrary to received wisdom, these three books forcefully show the highly experimental and prolific nature of the theater activities of the high socialist period, which gave rise to equally prolific critical debates. Taken together, they paint a dynamic history made of lights and shadows, in which the past and the present mirror each other in (often) surprising ways.

Letizia Fusini SOAS University of London

Works Cited

Beiser, Frederick C.  The German Historicist Tradition . Oxford: Oxford University Press, 2011.

Best, Steven and Sharon Marcus. “Surface Reading: An Introduction.”  Representations  108, 1 (2009): 1-21.  https://doi.org/10.1525/rep.2009.108.1.1

Chakrabarty, Dipesh.  Provincializing Europe: Postcolonial Thought and Historical Difference . Princeton, NJ: Princeton University Press, 2000.

Chen, Duxiu. “On Theater.” In Faye Chunfang Fei, ed./tr.,  Chinese Theories of Theater and Performance from Confucius to the Present . Ann Arbor: The University of Michigan Press, 1999, 117-120.

Chen, Xiaomei.  Acting the Right Part: Political Theater and Popular Drama in Contemporary China . Honolulu: University of Hawaii Press, 2002.

—–.  Performing the Socialist State: Modern Chinese Theater and Film Culture . New York: Columbia University Press, 2023.

Greene, Maggie.  Resisting Spirits: Drama Reform and Cultural Transformation in the PRC . Ann Arbor: University of Michigan Press, 2019.

Hu, Shi 胡适. “Wenxue jinhua guannian yu xiju gailiang” 文学进化观念与戏剧改良 (The Concept of Literary Evolution and Theater Reform). In  Hushi w encun 胡适文存 (Hu Shi’s writings), vol. 6. Hefei: Huangshan shushe; Xinhua shudian jingxiao, 1996, 106-116.

Huang, Zuolin. “On Mei Lanfang and Chinese Traditional Theater.” In Faye Chunfang Fei, ed./tr.,  Chinese Theories of Theater and Performance from Confucius to the Present . Ann Arbor: The University of Michigan Press, 1999, 154-158.

Li, Yu. “Li Liweng on Theater.” In Faye Chunfang Fei, ed./tr.,  Chinese Theories of Theater and Performance from Confucius to the Present . Ann Arbor: The University of Michigan Press, 1999, 77-87.

Liu, Siyuan.  Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s . Ann Arbor: University of Michigan Press, 2021.

Mao, Zedong. “On New Democracy.” In Stuart R. Schram, ed.,  Mao’s Road to Power. Revolutionary Writings 1912-1949: New Democracy . Armonk, NY: M.E. Sharpe, 2004, 330-369.

Park, Sowon S. “The Adaptive Comparative.”  Comparative Critical Studies  12, 2 (2015): 183-196. DOI: 10.3366/ccs.2015.0166

Schechner, Richard. “Foreword.” In Faye Chunfang Fei, ed./tr.,  Chinese Theories of Theater and Performance from Confucius to the Present . Ann Arbor: The University of Michigan Press, 1999, ix-xiv.

Smith, Deanna, et al. “Historicism.” URL:  https://anthropology.ua.edu/theory/historicism/

Tian, Min.  The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre . Hong Kong: Hong Kong University Press, 2008.

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‘The Garfield Movie’ Review: This Feels Like Too Much Effort

Garfield, voiced by Chris Pratt, is joined by Samuel L. Jackson as his father, in an inert big-screen adaptation that fundamentally misunderstands its protagonist.

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By Brandon Yu

Since Garfield’s debut in the 1970s, Jim Davis’s orange tabby has become one of the most successful brands to evolve from the humble American comic strip. And fortified by a reliable stream of cartoon shows, video games and a couple of bland Bill Murray-voiced films in the early 2000s, Garfield is now one of the more enduring images of the American imagination.

Even if you’ve never consumed Garfield in any prolonged form, you probably know who he is and what he represents. (Mondays: reviled. Lasagna: beloved. Effort of any kind: a fundamental misunderstanding of life.)

It’s particularly odd, then, that the latest iteration of the Garfield empire, the animated “The Garfield Movie,” somehow doesn’t. The film, directed by Mark Dindal, is an inert adaptation that mostly tries to skate by on its namesake. In other words, it’s a Garfield movie that strangely doesn’t feel as if Garfield as we know him is really there at all.

Part of this can be attributed to the voice — Chris Pratt, an overly spunky casting choice that was doomed from the start — but there’s also a built-in defect to the very concept of the big-screen Garfield treatment. An animated, animal-centric children’s movie tends to require a narrative structure of action-packed adventure — the antithesis of Garfield the cat’s raison d’être.

Instead, after a perfunctory origin story of Garfield’s life with his owner, Jon (Nicholas Hoult), and dog companion, Odie (Harvey Guillén), the film is quickly set into adventure mode when Garfield and Odie are kidnapped by a pair of henchman dogs working for a vengeful cat named Jinx (Hannah Waddingham). Garfield’s estranged father, Vic (Samuel L. Jackson), quickly comes to the rescue, but it’s Vic that Jinx is really after. After Jinx demands a truck full of milk as payment for a botched job she took the fall for, Vic, with Garfield and Odie in tow, are off to find a way to pay his debt.

Vic is a new addition to the lore. (Garfield’s father wasn’t present in the many media iterations, save for a few passing mentions.) He abandoned Garfield as a kitten in an alley, and their relationship is strained. This Garfield, aside from the predictable references here and there to his gluttony, is mostly an agitated son who chafes at his dad’s sudden presence in his life.

Even before all of this is set in motion, Garfield is introduced with too much pep in his step by Pratt, who has become, for better or worse, blockbuster animation’s go-to lead (“The Lego Movie,” “Onward,” “The Super Mario Bros. Movie”). His voice acting, though, lacks the dynamism to embody a memorable character like Garfield. His golden retriever, himbo energy can work in specific situations, like “The Lego Movie,” but here it’s the inverse of what Garfield ought to be. Bill Murray, Garfield’s voice in the earlier films, felt genuinely well suited to the cat’s languor, even if the movies were rough.

Granted, Pratt isn’t helped along elsewhere. The animation is visually flat, with compositions that seem oddly half-populated and cheap. The script, by Paul A. Kaplan, Mark Torgove and David Reynolds, is weak, with most of its comedy derived from cheap slapstick violence that even kids may tire of, and emotional beats that were written on autopilot.

This is all the more disappointing considering that in 2000, Dindal directed one of the more comically daring big-budget animated works: Disney’s “The Emperor’s New Groove.” That film opened with a fourth-wall-breaking introduction from its protagonist, just as in this “Garfield”; in “The Emperor’s New Groove,” it foreshadowed the tone of an idiosyncratic work, but here it just reads as lazy.

More cynical viewers might see the film as simply a flotation device for ads, considering the constant product placement. In all his indolence, even Garfield would have dragged himself up to change the channel.

The Garfield Movie Rated PG for action/peril and mild thematic elements. Running time: 1 hour 41 minutes. In theaters.

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