How to Write Essays « Un coup de dés

Un coup de dés

  • 2021. 01. 16

    How to Write Essays

    If you are a student who’ve taken up instructional writing for a profession, then it is vital to improve your writing skills to be able to better your chances for a good career. Writing essays has come to be a requirement in almost all courses and colleges. The procedure for composing an article has come to be quite tedious especially for pupils who are at the first year of their college studies and that are still learning the writing process.

    Mary Ellen Gould-Wright points out that most grad students from the top company universities have little if any understanding of academic writing. Gould-Wright suggests that authors must teach college students how to write academic essays.

    Writing essays does not only produce the critical-thinking and analytical writing skills that students require for the real world. Additionally, it makes them more confident and better communicators because of their experience with this task.

    Plenty of students don’t think essay writing seriously because of their lack of enthusiasm for this topic. But, writing essays can be a tedious job, and it demands a whole lot of attention and concentration. In the event the writer finds the subject interesting but boring, they won’t be able to place the very best of their work to the article. And if they have no clue what to write about, their article will prove to be poorly constructed. Students need to understand it to compose an article, one needs to be able to write effectively.

    When writing documents, a writer needs to have a clear cut idea of this subject that they intend to write about. A well researched topic won’t just produce the essay intriguing and captivating, but it is going to also assist the author to compose an essay that will be useful and interesting to their audience. A writer should be able to make a very clear and succinct discussion to convince his readers of a particular thesis. The thesis of the essay has to be backed up by a few solid facts and characters so that the reader can verify his conclusion and may build upon it. A writer must also be conscious that writing an essay isn’t just about putting facts into words, but it is also about conveying an idea in a very clear and concise manner.

    An essay, just like any other composed piece of writing, must be consulted. The essay needs to be proofread so that grammar and punctuation errors are eliminated. The design manual of the English language should also be employed to ensure the article follows a standard format. Writing essays additionally requires that a fantastic knowledge of culture and history of the field has been written about be developed so as to make it even more convincing.




, and lies listen to,, at the she said as a form of, while he said ? . a , .

 For the summer edition of uncoupdedé magazine, I have let myself be inspired by Mallarme´s dice play to shift away from a regular textual introduction. In favor of the actual produced material and the heterogonous spirit I found in the magazine, I limited myself to use what is already existing – titles and content – to produce a minimal intervention: , and lies listen to,, at the, she said, as a for of, while he said ? . a , . The economy of words deploys a visual and musical dimension of the assemblage, flames the collective effort, fulfills magical strategies, provokes memorization or, perhaps, simply incorporates the fundamental action given by this invitation: ORGANIZING UN COUP DE DÉS.

Manuela Moscoso



Architecture fantôme, 2011, Berdaguer & Péjus



Poinçon, Nicolas Floc’h, exposition à la verrerie de la Rochère, 2012. Production : centre d’art Le Pavé Dans La Mare. Mécénat : verrerie de La Rochère




Keith Sonnier, Saule pleureur de la série : Blatt, 1999 FNAC 03-044. Dépôt du Cnap - EAC, Donation Albers-Honegger © Yves Chenot pour Adagp

The Innocents © Dora Garcia

Power No Power, by Claudio Zulian, Aulnay-sous-Bois, France, 2013


La couleur ne brûle pas Elisa Pône & Stéphane Thidet film Super 8 / 2'20 / 2012 co-produit par le Centre d'Art Bastille, Grenoble. Photographie: Stéphane Thidet

vue de l'exposition The Die is Cast, Ryan Gander, 26/06 - 18/10/2009 - J. Brasille/Villa Arson

David Evrard, Spirit of Ecstasy, BLACKJACK éditions et KOMPLOT, 2012



Alain Bernardini, 'L’origine. Recadrée. Porte-Image, Guillaume, Chantier Giraud BTP, Borderouge Nord, Toulouse 2013', production BBB centre d’art /  commande publique photographique – CNAP

'Bonjour tristesse, désir, ennui, appétit, plaisir' Vue de l’exposition à La Galerie, Centre d’art contemporain de Noisy-le-Sec, Photo © Cédrick Eymenier, 2013



Bolstered by its success and visibility, uncoupdedé is restarting and subjecting existing content to new voices. In 2014 and 2015, several personalities from outside France will be asked to become our editorial writers for one season. Their task will be to place the contents of the whole magazine in perspective, presenting them differently through the prism of their subjectivity and their own work contexts. Catalina Lozano (Colombia), Zasha Colah (India), Moe Satt (Myanmar) and Manuela Moscoso (Brazil): each guest editor will reformulate the actions of the centres d’art, various aspects of which they will have been able to perceive through the magazine. Each editor-in-chief will “roll off” a cross-cutting text, presenting an original re-examination of the resolutely fluid geography of the centres d’art. uncoupdedé repeats the challenge from the poet Mallarmé, resurrected in the cinematographic art of Jean-Marie Straub and Danièle Huillet (Every Revolution is a Roll of the Dice, 1977). The guest editors, coming from a variety of disciplines, will widen the circle of expression even more. Choral and fragmentary, uncoupdedé takes just as much after puzzles as it does after memories, and naturally calls for cut-outs of every kind…



(Sao Paulo, Brazil)

Manuela Moscoso is a Brazil-based curator. Recently she has curated 12 Bienal de Cuenca, Ecuador; Yael Davis in the Museo de Arte do Rio Brazil; Fisicisimos, Universidad Torcuato di Tella,The Queens Biennale in the Queens Museum New York; or Before Everything in CA2M (Madrid). Together with Sarah Demeuse is Rivet, a curatorial office investigating notions of deployment, circulation, exercise, and resonance. Their research has materialized in projects in Spain, Norway, Lebanon and the US. Manuela Moscoso holds an MA from Center for Curatorial Studies at Bard College.