Writing a “Lens” Essay

This handout provides suggestions for writing papers or responses that ask you to analyze a text through the lens of a critical or theoretical secondary source.

Generally, the lens should reveal something about the original or “target” text that may not be otherwise apparent. Alternatively, your analysis may call the validity of the arguments of the lens piece into question, extend the arguments of the lens text, or provoke some other reevaluation of the two texts. Either way, you will be generating a critical “dialogue between texts.”

Reading the Texts

Since you will eventually want to hone in on points of commonality and discord between the two texts, the order and manner in which you read them is crucial.

First, read the lens text to identify the author’s core arguments and vocabulary. Since theoretical or critical texts tend to be dense and complex, it may be helpful to develop an outline of the author’s primary points. According the to Brandeis Writing Program Handbook, a valuable lens essay will “grapple with central ideas” of the lens text, rather than dealing with isolated quotes that may or may not be indicative of the author’s argument as a whole. As such, it’s important to make sure you truly understand and can articulate the author’s main points before proceeding to the target text.

Next, quickly read the target text to develop a general idea of its content. Then, ask yourself: Where do I see general points of agreement or disagreement between the two texts? Which of the lens text’s main arguments could be applied to the target text? It may be easier to focus on one or two of the lens text’s central arguments. 

With these ideas in mind, go back and read the target text carefully, through the theoretical lens, asking yourself the following questions: What are the main components of the lens text and what are their complementary parts in the target text? How can I apply the lens author’s theoretical vocabulary or logic to instances in the target text? Are there instances where the lens text’s arguments don’t or can’t apply? Why is this? It is helpful to keep a careful, written record of page numbers, quotes, and your thoughts and reactions as you read.

Since this type of paper deals with a complex synthesis of multiple sources, it is especially important to have a clear plan of action before you begin writing. It may help to group quotes or events by subject matter, by theme, or by whether they support, contradict, or otherwise modify the arguments in the lens text. Hopefully, common themes, ideas, and arguments will begin to emerge and you can start drafting!

Writing the Introduction and Thesis

As your paper concerns the complex interactions between multiple texts, it is important to explain what you will be doing the introduction. Make sure to clearly introduce the lens text and its specific arguments you will be employing or evaluating. Then introduce the target text and its specific themes or events you will be addressing in your analysis. 

These introductions of texts and themes should lead into some kind of thesis statement. Though there are no set guidelines or conventions for what this thesis should look like, make sure it states the points of interaction you will be discussing, and explains what your critical or theoretical analysis of the target text reveals about the texts.

Writing the Body

The body is where you apply specific arguments from the lens text to specific quotes or instances in the target text. In each case, make sure to discuss what the lens text reveals about the target text (or vice versa). Use the lens text’s vocabulary and logical framework to examine the target text, but make sure to be clear about where ideas in the paper are coming from (the lens text, the target text, your own interpretation etc.) so the reader doesn’t become confused.

By engaging in this type of analysis, you are “entering an academic conversation” and inserting your own ideas. As this is certainly easier said than done, Gerald Graff and Cathy Birkenstein’s concept of “Templates” may prove useful. In their book, They Say, I Say, the authors lay out numerous templates to help writers engage in unfamiliar forms of critical academic discourse. They encourage students to use the templates in any capacity they find useful, be it filling them in verbatim, modifying and extending them, or using them as an analytical entry point, then discarding them completely.

Here I modify their basic template (They say ________. I say ________.), to create lens essay-specific templates to help you get started:

The author of the lens text lays out a helpful framework for understanding instances of ________ in the target text. Indeed, in the target text, one sees ________, which could be considered an example of ________ by the lens author’s definition. Therefore, we see a point of commonality concerning ________. This similarity reveals ________.

According to the lens text _______ tends to occur in situations where _______. By the lens author’s definition, ________ in the target text could be considered an instance of _______. However, this parallel is imperfect because _______. As such, we become aware of ________.

One sees ________ in the target text, which calls the lens author’s argument that ________ into question because ________.

If the author of the lens text is correct that ________, one would expect to see ________ in the target text. However, ________ actually takes place, revealing a critical point of disagreement. This discord suggests that ________. This issue is important because ________.

Wrapping Things up and Drawing Conclusions

By this point in your essay, you should be drawing conclusions regarding what your lens analysis reveals about the texts in questions, or the broader issues the texts address. Make sure to explain why these discoveries are important for the discipline in which you are writing. In other words, what was the point of carrying out your analysis in the first place? Happy lens writing!

Brandeis UWS Writing Handbook, 70.

UWS Handbook, 76.

Birkenstein, Cathy and Gerald Graff, They Say, I Say. (New York: W. W. Norton & Company, 2007), 2-3.

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How to Write a Powerful “Lens” Essay: Step-by-Step Guide

How to Write a Powerful “Lens” Essay: Step-by-Step Guide

Writing an essay lets you dive deep into a topic, exploring its various facets and presenting your own unique perspective. Whether you are an excellent writer or just starting out, the lens essay is a valuable tool to develop your critical thinking skills and showcase your ability to analyze and interpret different sources.

The lens essay follows a specific structure and set of principles, where you critically analyze a single quote, book, or article and use it as a lens through which to view and interpret other texts or stories. While other essays may focus on making arguments or providing information, the lens essay requires you to take a stance and show how the quote or text you are using as a lens helps you understand a particular topic or issue.

The body paragraphs of your lens essay should include several original and well-researched examples that support your main thesis statement. Each paragraph should present a different example or piece of evidence, while also drawing connections back to the quote or text that serves as the lens. It is necessary to include critical analysis and explain how each example fits into the overall argument of your essay.

Critical Lens Remarks

When writing a critical lens essay, it is important to be aware of the various services and support available to students. Many college writing centers offer assistance with essay writing, and there are numerous online resources that provide tips and templates for structuring your essay.

To make your essay more analytical and impressive, it is necessary to include the following elements:

2. Body Paragraphs: In the body of your essay, make sure to identify the literary works you will be discussing and express your own interpretation of the quote. Use examples from the texts to support your claims.

When making critical lens remarks, it is important to be aware of the major principles of this type of essay. A critical lens essay goes beyond summarizing the plot or main ideas of a work; it requires you to analyze the literary elements and techniques used by the authors to convey their message.

One of the most common mistakes that students make when writing a critical lens essay is not being able to connect the quote to the works they are discussing. It is important to clearly identify whether the quote supports or contradicts the chosen works.

Furthermore, using too many quotes from the works without enough of your own analysis can weaken your argument. It is important to express your own thoughts and ideas about the topic, rather than relying solely on the words of others.

Writing a Thesis Statement

The thesis statement should be strong and concise, and it should clearly state the writer’s main argument or point of view. It should also provide enough support for the claims made throughout the essay. To write an excellent thesis statement for a lens essay, writers can follow these tips:

1. Understand the lens: Before writing the thesis statement, it is important to have a clear understanding of the lens through which the essay will be analyzed. This lens can be a specific theme, a literary theory, or any other analytical framework.

2. Analyze the texts: Take the time to analyze the literary works that will be discussed in the essay. Look for common elements, themes, or characters that can be used to support the thesis statement.

3. Be original: A strong thesis statement should be original and unique. Avoid generic statements that can apply to any topic or works. Instead, focus on expressing a specific argument or interpretation that is supported by the lens.

4. Use quotes wisely: Incorporate quotes from the works being analyzed to support the thesis statement. However, make sure the quotes are relevant and add value to the overall argument. Avoid using long quotes that may overshadow your own analysis.

5. Provide examples: Instead of just stating the main points, provide examples or evidence from the works to further support the thesis statement. This will make the argument more convincing and engaging for the reader.

6. Follow a clear structure: The thesis statement should be placed at the end of the first paragraph, as it serves as a roadmap for the rest of the essay. The following paragraphs should be well-organized and each should focus on a specific aspect or point related to the thesis statement.

7. Use templates: If you are struggling to write a thesis statement, consider using templates or guidelines provided by your teachers or academic resources. These can help you format your statement in a clear and effective way.

By following these principles, writers can create a powerful thesis statement that impresses readers and sets the tone for an analytical and exciting lens essay. Remember to take enough time to read and understand the works and analyze them in the context of the lens. With practice, writing a strong thesis statement will become second nature, allowing you to express your thoughts and insights confidently in your college essays and academic works.

Clear Presentation of the Topic

Another important element of a clear presentation is the thesis statement. This is a single sentence that expresses the writer’s stance or argument. It should be concise and to the point, letting the reader know exactly what the essay will be about.

Furthermore, it is necessary to support the thesis statement with three main points. These points should be supported by evidence and examples from the text or texts being analyzed. The writer should think about what they want to say about the topic and then find quotes or passages that support their ideas.

Moreover, the writer should make use of transitions to help guide the reader from one point to the next. This can be done with transitional words or phrases, such as “furthermore” or “on the other hand.”

Express Your Stance

When it comes to expressing your stance in a “lens” essay, it is crucial to have a strong thesis statement that clearly states your position. This statement should provide a clear and concise overview of the main argument you will be making in your essay.

When expressing your stance, it is helpful to think about the main elements of the “critical lens” topic and how they relate to each other. This will assist you in making a well-researched and well-structured argument.

Furthermore, as a writer, you may find it helpful to provide some remarks on the topic itself and its popularity among students and teachers. By doing so, you can demonstrate your understanding of the subject matter and show that you have done enough research on the topic.

In order to express your stance clearly and effectively, it is necessary to use clear and concise language. Avoid using vague or uncertain words that may confuse the reader. Instead, use strong and confident words to make your position clear.

By following these guidelines and expressing your stance clearly and confidently, you can impress your readers and make your essay more impactful. Remember, the more clear and persuasive your stance is, the more likely your essay will be successful.

What is a lens essay?

A lens essay is an essay that examines a particular text or piece of literature through the lens of a specific theory or school of thought.

What is the purpose of a lens essay?

The purpose of a lens essay is to analyze and interpret a text by using a specific theoretical framework or perspective.

How do you choose a lens for your essay?

To choose a lens for your essay, you should first identify the main themes or ideas of the text and then select a theory or perspective that provides a unique and insightful way of understanding those themes.

What are some common lenses or theories used in lens essays?

Some common lenses or theories used in lens essays include feminism, Marxism, psychoanalysis, postcolonialism, and structuralism.

What are the steps to writing a powerful lens essay?

The steps to writing a powerful lens essay include reading and understanding the text, selecting a lens or theoretical framework, conducting research on the lens, analyzing the text through the lens, and developing a strong thesis statement and supporting arguments.

What is a “Lens” essay?

A “Lens” essay is a type of literary analysis essay where the writer presents a text or work of art through the perspective of a particular lens or viewpoint.

Alex Koliada, PhD

By Alex Koliada, PhD

Alex Koliada, PhD, is a well-known doctor. He is famous for studying aging, genetics, and other medical conditions. He works at the Institute of Food Biotechnology and Genomics. His scientific research has been published in the most reputable international magazines. Alex holds a BA in English and Comparative Literature from the University of Southern California , and a TEFL certification from The Boston Language Institute.

How to Write a Critical Lens Essay Successfully Step by Step

critical lens

Critical lens essay writing is a type of literary analysis where the writer is required to analyze and interpret a specific piece of literature or a quote. The essay typically involves discussing the meaning of the quote and how it relates to two literary works. The author is expected to use literary elements and techniques to support their interpretation and provide evidence from the texts.

The term "critical lense" refers to the perspective or lenses through which the scribe views and analyzes the literature. It often involves exploring the cultural, historical, or philosophical context of the works being analyzed. The goal is to demonstrate a deep understanding of the literature and present a well-argued interpretation.

In this guide, we’ll explore such crucial aspects of how to write critical lens essay, its definition, format, and samples. Just in case you’re in a big hurry, here’s a link to our essay writer service that can help you cope with a task at hand quickly and effortlessly.  

lens essay meaning

What Is a Critical Lens Essay and How to Write It

A critical lens analysis is a form of literary exploration that challenges students to interpret and analyze a specific quote, known as the "lens," and apply it to two pieces of literature. This type of composition aims to assess a student's understanding of literary elements, themes, and the broader implications of the chosen quote. Effectively producing a research paper involves several key steps, each contributing to a comprehensive and insightful analysis. 

The critical lens meaning is to provide a unique perspective into the complexities of literature. It goes beyond mere summarization, urging students to explore the layers of meaning embedded within the chosen quote and its application to literary works. Unveiling the assignment's meaning requires a keen eye for nuance and an appreciation for the intricate dance between language and interpretation.

Knowing how to write a lens essay involves mastering the art of interpretation. As students embark on this literary journey, the process of achieving this task becomes integral. It demands an exploration of the chosen quote's implications, an in-depth analysis of its resonance with the selected literature, and a thoughtful synthesis of ideas. A step-by-step approach is crucial, from deciphering the meaning to meticulously weaving insights into a cohesive and compelling narrative.

A lens analysis is more than a scholarly exercise; it's a nuanced exploration of the intersections between literature and life. It prompts students to unravel the layers of meaning embedded within the viewpoint, dissecting its implications for characters, themes, and overarching narratives. This analytical journey not only refines academic skills but also cultivates a deeper appreciation for the profound impact literature can have on our understanding of the human experience.

Step-by-Step Writing Guide

In this guide, we will explore the assignment’s prerequisites and outline five steps to help students understand how to write a critical lens essay.

how to write critical lens essay

STEP 1 - Understand the Critical Lens Quote

The journey of crafting a compelling draft begins with a deep understanding of the chosen quote or viewpoint. This quote typically embodies a philosophical or thematic idea that serves as a foundation for analyzing the selected literary works. Students should dissect the quote, exploring its nuances, underlying meanings, and potential applications to literature.

STEP 2 - Select Appropriate Literary Works

Once the sources are comprehended, the next step is to select two literary works that can be effectively analyzed through this framework. Choosing appropriate texts is crucial, as they should offer rich content and thematic depth, allowing for a comprehensive exploration. Students must consider how the texts align with and diverge from the central ideas presented in the quote.

STEP 3 - Interpret the Chosen Texts

With the literary works in hand, students embark on a close reading and analysis of the selected texts. This involves identifying key themes, characters, literary devices, and narrative elements within each work. The goal is to understand how each text relates to the material and to uncover the deeper meanings encapsulated in the literature.

STEP 4 - Write a Thesis Statement for Your Critical Lens Essay

The thesis statement is the compass guiding the entire document. It should succinctly capture the composer’s interpretation of the original source and how it applies to the chosen texts. A well-crafted thesis statement not only outlines the focus of the essay but also provides a roadmap for the subsequent analysis, showcasing the author’s unique perspective.

STEP 5 - Structure the Essay Effectively

The final step involves organizing the tract into a coherent and persuasive structure. A well-structured article typically includes an introduction, body paragraphs, and a conclusion. In the introduction, students present their interpretation, introduce the chosen texts, and offer a clear thesis statement. Body paragraphs delve into specific aspects of lenses and their application to each text, supported by relevant evidence and analysis. The conclusion synthesizes the key findings, reinforces the thesis, and leaves a lasting impression on the reader.

A successful article requires a meticulous approach to interpreting the quote, selecting appropriate literary works, closely analyzing the texts, crafting a robust thesis statement, and structuring the document effectively. By following these five key steps, students can develop a well-rounded and insightful article that not only demonstrates their understanding of literature but also showcases their ability to apply analytical thinking skills to literary analysis. Should you find the process challenging, simply contact us and say, ‘ Write an essay for me ,’ so we can find you a perfect writer for the job.

Critical Lens Essay Outline

Creating a comprehensive lens essay outline is an essential preparatory step that helps students organize their thoughts and ensures a well-structured effort. Below is a suggested outline, dividing the task into logical sections:

Introduction:

  • Hook: Begin with a captivating hook or quote to engage the reader.
  • Quote: Introduce the chosen quote, providing context and potential interpretations.
  • Interpretation: Offer your initial interpretation and its implications.
  • Thesis Statement: Clearly state your thesis, outlining how the document applies to the chosen literary works.

Body Paragraphs:

Paragraph 1: First Literary Work

  • Brief Overview: Provide a concise summary of the first literary work.
  • Connection to Critical Lens: Analyze how it applies to this text.
  • Evidence: Incorporate relevant quotes or examples from the text to support your analysis.
  • Interpretation: Discuss the deeper meanings revealed through the analysis.

Paragraph 2: Second Literary Work

  • Brief Overview: Summarize the second literary work.
  • Connection to Critical Lens: Examine how it is reflected in this text.
  • Evidence: Include specific quotes or instances from the text to bolster your analysis.
  • Interpretation: Explore the profound implications illuminated by the material.

Paragraph 3: Comparative Analysis

  • Common Themes: Identify shared themes or patterns between the two works.
  • Differences: Highlight key differences and divergent interpretations.
  • Unity: Emphasize how both work collectively to reinforce the analysis.
  • Counterargument.

Conclusion:

  • Recapitulation: Summarize the main points discussed in the body paragraphs.
  • Thesis Restatement: Reiterate your thesis in a compelling manner.
  • Concluding Thoughts: Offer final reflections on the broader implications of your analysis.

By adhering to this outline, students can systematically approach their essays, ensuring a coherent and well-supported exploration of the chosen perspective and literary works. The outline serves as a roadmap, guiding the author through each essential element and facilitating a more organized and impactful final product. You will also benefit from learning how to write a character analysis essay because this guide also offers a lot of useful tips.

rules of critical lens essay

Introduction

The introduction plays a pivotal role in capturing the reader's attention and establishing the foundation for the ensuing analysis. Begin with a compelling hook or a thought-provoking quote that relates to the chosen perspective. Following the hook, introduce the quote itself, providing the necessary context and initial interpretations. This is also the space to present the thesis statement, succinctly outlining how the outlook applies to the literary works under examination. The thesis should offer a roadmap for the reader, indicating the key themes or ideas that will be explored in the body paragraphs.

The main body paragraphs constitute the heart of the article, where the essayist delves into a detailed analysis of the chosen literary works through the framework provided. Each body paragraph should focus on a specific literary work, providing a brief overview, connecting it to the perspective, presenting evidence from the text, and offering interpretations. Use clear topic sentences to guide the reader through each paragraph's main idea. Strive for a balance between summarizing the text and analyzing how it aligns with the outlook. If applicable, include a comparative analysis paragraph that explores common themes or differences between the two works. This section requires a careful integration of textual evidence and insightful commentary. Keep in mind that learning the ins and outs of a literary analysis essay might also help you improve your overall written skills, so check it out, too!

The conclusion serves as a synthesis of the analysis, offering a concise recapitulation of the main points explored in the body paragraphs. Begin by summarizing the key findings and interpretations, reinforcing how each literary work aligns with the work’s angle. Restate the thesis in a conclusive manner, emphasizing the overarching themes that have emerged from the analysis. Beyond a mere recap, the conclusion should provide broader insights into the implications of the outlook, encouraging readers to contemplate the universal truths or societal reflections brought to light. A strong conclusion leaves a lasting impression, prompting reflection on the interconnectedness of literature and the perspectives that illuminate its depth.

Critical Lens Essay Example

Final Remark 

Through the exploration of literary works, students not only refine their understanding of diverse perspectives but also develop essential analytical thinking skills. The ability to decipher, analyze, and articulate the underlying themes and conflicts within literature positions students as adept communicators and thinkers.

Armed with the skills cultivated in dissecting and interpreting texts, students gain a formidable ally in the pursuit of effective communication. By committing to harnessing the insights gained through this assignment, students empower themselves to produce richer, more nuanced pieces. 

lens essay meaning

How to Write a Thesis Statement for Your Critical Lens Essay?

How does using a critical lens essay help writers, what are the best critical lens essay examples.

lens essay meaning

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How to Write a Lens Essay

Sophie levant, 25 jun 2018.

How to Write a Lens Essay

Look closely at literature, and you may see a new world below the surface. In high school or college, a teacher may ask you to do this by writing a lens essay. A lens essay is a type of comparative paper that analyzes one text through the viewpoints expressed in another. Composing an effective one is difficult even for the most seasoned of writers. However, it is an incredible intellectual exercise through which you will not only improve your writing skills but your critical reading and thinking skills as well.

Explore this article

  • Read the Lens Text
  • Read the Focus Text
  • Take a Closer Look
  • Construct Your Thesis
  • Compose the Body of Your Essay
  • Sum Up Your Ideas
  • Revise and Edit

things needed

  • Your two texts
  • Pen and paper

1 Read the Lens Text

Begin by reading the text you plan to use as your viewpoint. Take note of strong opinions, assumptions and justifications. Clear, concise notes about this section will help when using this text as a lens and when writing your final essay, so make sure your notes are accurate.

2 Read the Focus Text

Read the second work once, making note of its important details. Look back at your notes from the lens text, and read the focus text again with the lens text in mind. Use active reading skills such as writing questions in the margins and determining the purpose of each paragraph.

3 Take a Closer Look

Here are a few questions to consider when analyzing the content of your focus text: How does the lens text serve to shed light on the second text? Does it criticize it or support it? If the two pieces were written during different periods in history, consider the era in which the lens was written and how it affects the opinions or points made in the second. Consider the lives of the authors and how their differences might inform their writing.

4 Construct Your Thesis

With your notes in hand, construct your thesis statement. Using details from the both texts as context clues, determine how the author of the lens text would view the assertions of the focal text. Construct this view as a statement that includes the details expounded upon in the body paragraphs of your essay. At the same time, keep your thesis statement as clear and simple as you can. Your thesis statement is the roadmap to the rest of your paper. Its clarity and concision will help your reader understand what to expect.

5 Compose the Body of Your Essay

Write the body. A lens essay is typically constructed on a text-by-text basis. Concentrate on presenting the lens in the first paragraphs. In the following, present the second text as viewed through the lens. How do your points support the thesis? Make sure to include evidence for your assertions.

6 Sum Up Your Ideas

Write the conclusion. Restate your thesis first, then sum up the main points of your paper. Be sure to make what you have said meaningful. Don't let the paper fizzle out, but don't introduce new information either.

7 Revise and Edit

Read over your work at least once, first paying attention to content and inconsistencies in your argument. Make additions and corrections, and then proofread your work. Correct errors in style and grammar, and make sure your prose reads fluently. When in doubt, ask a friend to read your paper. Sometimes another set of eyes can catch mistakes that yours don't.

  • It is always well worth your time to proofread and edit your paper before submission. Not only can you correct any errors in style and grammar, but inconsistencies in your argument as well.
  • 1 Brandeis University: The Lens Essay
  • 2 The McGraw Center for Teaching and Learning: Active Reading Strategies

About the Author

Sophie Levant is a freelance writer based in Michigan. Having attended Michigan State University, her interests include history classical music, travel, and the German language. Her work has been published at eHow and Travels.

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lens essay meaning

The Barker Underground

Writing advice from the harvard college writing center tutors, tag lens essay, comparing texts: more than frenemies.

by Maia Silber

When comparing two sources, it’s easy to fall into what I like to call the “friends, enemies, and frenemies” trap. If the two sources present similar perspectives, our first instinct might be to label them “friends”—Source X and Source Y both argue that standardized testing should be used to evaluate high school teachers. Alternatively, if the sources clearly contain opposing viewpoints, we cast them as “enemies”—Source X argues that standardized testing should be used to evaluate high school teachers, but Source Y argues that it should not.

It might seem like the way to add complexity to such theses would be to define the sources as “frenemies”– Source X and Source Y both argue that standardized tests should be used to evaluate high school teachers, but only Source X argues that student reports should also be used to evaluate high school teachers. The problem with the “frenemies” approach is not that it’s inaccurate—any two writers, like any two people, will agree on some points and disagree on others—but that it does not account for why or how the authors agree and disagree.

A good comparison, someone once told me, finds the like in the unlike and the unlike in the like. To present a more complex account of how two sources relate to one another, it’s helpful to remember that writers can be more than frenemies—they might, for instance, relate to each other in the following ways:

THE SPRINTER AND THE JOGGER: The sprinter and the jogger each have the same goal—the finish line—but they’re going to get there in different ways. Source X and Source Y might be making the same argument—each claims that standardized testing should not be used to evaluate high school teachers—but for different reasons. Source X might argue that standardized testing should not be used to evaluate high school teachers because standardized tests don’t reliably predict students’ academic success. Source Y might claim that standardized tests do a great job of predicting students’ academic success, but still argue that standardized tests should not be used to evaluate teachers because students with high IQs will score well regardless of time spent in class.

TWO COOKS IN THE KITCHEN: Have you ever watched one of those TV cooking challenges, where both chefs get the same ingredients to create their dishes? They each start out with similar combinations of milk, eggs, and flour, but one bakes a pound cake and the other a puff pastry. Source X and Source Y might both be using the same tool—the value of meritocracy, say—and come to entirely different conclusions. Source X argues that standardized test scores provide the most objective way to measure teachers’ performance, but Source Y argues that in-class evaluations provide a larger picture of teachers’ merit.

THE THEORETICIAN AND THE PRACTITIONER: When comparing a secondary source to a primary source, you can imagine discovering a cure in the lab and then testing it on real patients. Does the cure work? What real-life variables not present in the lab might affect it? Did the lab report anticipate its success rate, and if not, why? If Secondary Source X argues that standardized testing should be used to evaluate high school teachers, and Primary Source Y charts students’ standardized test scores against teachers’ in-class evaluations at public and private high schools, what might looking at Source X and Source Y together tell us about the real-life situations where standardized test scores accurately do or don’t accurately measure teachers’ performance?

THE DOCTOR AND THE PATIENT: A medical analogy might also be fitting to describe another way that primary and secondary sources interact. Say that a patient comes to a doctor’s office complaining of a problem—he’s been exercising every day and can’t lose weight. The doctor asks him about his eating habits, and finds that he’s been consuming a high-calorie diet. Primary Source X (the patient) finds that standardized test scores don’t reflect teachers’ performance ratings at low-income schools. If Secondary Source Y (the doctor) suggests that standardized test scores are affected by school resources and funding, how might this account for the data in Primary Source X?

The Four Parts of a Lens Essay Argument

by Emily Hogin

One of the most common prompts I see at the Writing Center is the “lens essay.” A lens essay brings two texts in dialogue with one another in a very particular way. It asks you to use Text B – the lens – to illuminate something you didn’t already know about Text A.

How Not to Argue a Lens Essay

A lens essay is not a list of differences and similarities between two texts. The following are some (exaggerated) examples of a bad argument for a lens essay I’ve come across at the Writing Center:

Even though one is philosophy and the other is a novel, both Text A and Text B talk about the imagination.

This first thesis statement notes a similarity between the two texts that will likely be obvious to readers of the text. It doesn’t use one text to illuminate anything about the other.

While both Text A and Text B argue that human nature is unchangeable, Text A asserts that humans are inherently good and Text B asserts that humans are inherently bad.

This thesis makes a claim about each text but doesn’t say anything about them in relation to each other.

Text A, a poem, does a better job of communicating the emotional struggles of living with HIV than Text B, a statistical report, because a poem allows readers to identify emotionally with other people while statistics are more abstract and cold.

This third thesis statement does make an argument that connects both texts, but again fails to use one text to tell us something we don’t already know about the other text.

lens essay meaning

In my experience, a successful lens essay implies a certain kind of thought-process that has at least four parts:

(1) I read Text A

(2) I read Text B (my lens)

(3) I re-read Text A and noticed something I didn’t notice before

(4) That something turns out to carry consequences for my overall reading of Text A (thesis/argument)

(And if you really want to wow your reader, you’d add a final part:)

(5) Applying Text B (my lens) in this way also reveals something significant about Text B

When I say significance or consequences, I don’t mean that it has to alter the meaning of a text radically; it can be something small but important. For example, you might find that one element is a lot more important (or a lot less important) to the overall text than you had previously thought.

As an example, here is an excerpt from the introduction to my last lens essay:

The concept of the imagination is ambiguous throughout Venus in Furs : at times, the imagination appears as passive as a battleground that external forces fight to occupy and control; at other times, the imagination appears to drive the action as if it is another character. Any theory of sexuality that seeks to explain Venus in Furs thus must be able to explain the ambiguity over the imagination. Foucault’s theory of the inescapable knowledge-power of sexuality comes close to being able to explain Sacher-Masoch’s ambiguous concept of the imagination, but applying Foucault in this way highlights Foucault’s own difficulty situating the imagination within his theory.

You can see my lens essay thought-process in just these three sentences:

(1) I read Venus in Furs (Text A) and noticed that the imagination is ambiguous

(2) I read Foucault (Text B, my lens) (3) to better understand the imagination in Venus in Furs

(4) Foucault helped explain why an ambiguous imagination is an appropriate way to look at sexuality

but (5) applying Foucault to the imagination tells me that Foucault’s own theory is challenged when he has to account for the imagination.

Once you have an argument for a lens essay, you will have to structure your paper in a way that allows this lens essay thought-process to come across. This means that each of your topic sentences should refer back to this thought-process. Even if you need a paragraph that discusses one of the texts primarily, your topic sentence should justify why you’re doing that. Your complicated and interesting thesis will likely require you to move back and forth between Text A and Text B (your lens).

Of course, your argument will depend on your assignment, but I’ve found this four-part approach successful in a number of courses where the assignment asked me to bring two texts in dialogue with one another.

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Lens Analysis

closeup of a camera lens

What is lens analysis?

Lens analysis requires you to distill a concept, theory, method or claim from a text (i.e. the “lens”) and then use it to interpret, analyze, or explore something else e.g. a first-hand experience, visual text, physical object or space, historical or current event or figure, a cultural phenomenon, an idea or even another text (i.e. the “exhibit”).

A writer employing lens analysis seeks to assert something new and unexpected about the exhibit; he or she strives to go beyond the expected or the obvious, exploiting the lens to acquire novel insights. Furthermore, there is a reciprocal aspect in that the exploration of the exhibit should cause the writer to reflect, elaborate, or comment on the selected concept or claim. Using a concept developed by someone else to conduct an analysis or interpretation of one’s own is a fundamental move in academia, one that you will no doubt be required to perform time and time again in college.

Note: The first part of the process (ICE) is also known as a “quote sandwich,” which makes sense if you think about it.

How to Perform Lens Analysis

  • Introduce selected quotation from lens text i.e. provide the source for the quote as well as its context.
  • Cite the quotation i.e. use a signal phrase and partial quotation to present the author’s ideas clearly to your reader. Make sure to provide the required citation (MLA for this class).
  • Explain what the quotation means in terms of your argument i.e. ensure that the meaning of the quotation is clear to your reader in connection to your argument.
  • Apply the quotation to a specific aspect of the exhibit i.e. use the idea expressed in the quotation to develop an insightful interpretation about an aspect of the exhibit.
  • Reflect on the particular lens idea more deeply i.e. complicate it, extend its scope, or raise a new question that you will address next in your analysis, if applicable.

Writing About Literature Copyright © by Rachael Benavidez and Kimberley Garcia is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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How To Write A Lens Essay

A lens essay is a type of comparative paper that, instead of comparing two subjects, compares two different interpretations of one subject. When writing a lens essay, it is important to choose a text that has two different interpretations. These interpretations can be from different time periods, different authors, or even different schools of thought. The key to writing a successful lens essay is to use your own critical analysis of the texts to argue for the validity of one interpretation over the other.

There are a few steps you can take to ensure your lens essay is successful. First, it is important to have a clear understanding of both interpretations of the text. Second, you need to develop a thesis that takes a position on which interpretation is more valid. Finally, you must use evidence from the texts to support your position.

When writing your lens essay, be sure to:

1. Choose a text that has two different interpretations.

2. Develop a thesis that takes a position on which interpretation is more valid.

3. Use evidence from the texts to support your position.

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Understanding the Purpose of a Lens Essay

A lens essay is a type of critical writing that focuses on a single text, poem, play, or work of art through the perspective of a particular idea, theory, or lens. The purpose of a lens essay is twofold: to explore the significance of the text under analysis and to articulate your own argument about that text.

When approaching a lens essay, it is important to keep in mind that you are not writing a traditional research paper. In a research paper, you would typically present a series of evidence to support your argument. In a lens essay, however, your goal is not to simply present evidence, but to critically engage with the text under analysis. This means that you will need to bring your own interpretation to the text and use evidence from the text to support your claims.

There is no one right way to approach a lens essay, but there are a few things that you should keep in mind as you write. First, it is important to select a text that you can find interesting and that you can find evidence to support your claims about. Second, you will need to develop a clear thesis statement that articulates your argument about the text. And finally, you will need to support your claims with evidence from the text itself.

If you are having trouble getting started on your lens essay, try brainstorming a few possible ideas. Once you have selected a text and a lens, you can begin to develop a thesis statement. Remember, your goal is not simply to summarize the text or to provide evidence, but to critically engage with the text and to develop your own argument.

Once you have developed a thesis statement, you can begin to gather evidence from the text to support your claims. As you read, take note of passages or quotes that you think could be helpful in supporting your argument. When you have gathered enough evidence, you can begin to organize your essay.

When organizing your lens essay, it is important to keep your argument in mind. Begin by introducing your text and your lens, and then present your thesis statement. After your thesis statement, you can provide evidence from the text to support your claims. Finally, conclude your essay by reaffirming your argument and showing how your evidence supports your claims.

Remember, a lens essay is not a research paper. You are not simply presenting evidence, but critically engaging with the text under analysis. By approaching the text from a particular perspective, you can bring new insights and interpretations to the text. By developing a clear argument and supporting it with evidence, you can write a successful lens essay.

Selecting a Primary Text and Secondary Source

A lens essay is a type of comparative paper that, instead of comparing two subjects, compares a single subject against a secondary text. The purpose of a lens essay is twofold: to demonstrate your critical reading and writing skills, and to reveal your ability to analyze a complex text through the lens of another text.

In order to write a successful lens essay, you must first choose an appropriate primary text and secondary source. The primary text is the work that you will be using as your lens; it is the work through which you will interpret the secondary source. The secondary source is the work that you will be using as your main point of reference; it is the work that you will be interpreting through the lens of the primary text.

When choosing your primary and secondary texts, there are a few things to keep in mind. First, the texts should be from different genres (e.g., you wouldn’t want to compare a novel to a non-fiction work). Second, the texts should be of different lengths; a short story would not be an appropriate primary text if your secondary source is a full-length novel. Third, the texts should be from different time periods; it would be difficult to compare a contemporary work to a work from the Victorian era, for example.

Once you have selected your primary and secondary texts, you are ready to begin writing your lens essay. The first step is to read both texts carefully, taking note of any passages or ideas that stand out to you. As you read, you should also be thinking about how the two texts might be connected; what are the similarities and differences between them? What is it about the lens text that makes it a good tool for interpreting the secondary text?

After you have finished reading both texts, it is time to start writing your essay. The first step is to write a thesis statement; this should be a single sentence that sums up the overall point you will be trying to make in your essay. For example, your thesis statement might be “In ‘The Great Gatsby,’ Fitzgerald uses the character of Jay Gatsby as a lens through which to critique the empty materialism of the 1920s.”

Once you have written your thesis statement, you can start to develop your argument. In your body paragraphs, you will want to discuss how the lens text sheds light on the secondary text. What does the lens text reveal about the secondary text that we might not have been able to see otherwise? How does the lens text help us to understand the themes and ideas of the secondary text in a new way?

When you are writing your essay, be sure to support your claims with evidence from both texts. Quotations from the texts will help to illustrate your points, and will also show that you have read both texts closely. In addition, you should also make sure to explain how your evidence supports your thesis statement; simply quoting a passage from the text is not enough, you must also explain why that passage is significant.

A lens essay can be a challenging, but ultimately rewarding, assignment. By carefully selecting your texts and developing a well-supported argument, you can use the lens essay to reveal new insights into familiar works.

Analyzing and Interpreting the Primary Text

A lens essay is a type of close reading that focuses on a single text or group of texts. Unlike other forms of close reading, a lens essay requires that you not only analyze the text (or texts) in question, but also interpret it in light of another text, typically one that is considered to be a classic or canonical work.

The idea behind a lens essay is that you take a single text and use it as a lens through which to view another text. In other words, you use the first text to shed light on the second text. The lens text can be either shorter or longer than the target text, but it should be of a similar genre (e.g., if you’re writing about a novel, you would use another novel as your lens).

To write a successful lens essay, you’ll need to do the following:

1. Choose a target text and a lens text.

2. Read both texts closely, taking careful notes.

3. Develop a thesis about how the lens text illuminates the themes, ideas, or characters in the target text.

4. Write an essay in which you analyze the target text using the lens text as a guide.

When choosing a target and lens text, look for works that share common themes, ideas, or characters. For example, if you’re interested in the theme of love in Romeo and Juliet, you could use another Shakespeare play, like A Midsummer Night’s Dream, as your lens. Or, if you’re interested in the character of Hamlet, you might use another character-driven play, like Macbeth, as your lens.

Once you’ve chosen your texts, read them both closely, taking careful notes. As you read, think about how the lens text sheds light on the target text. What themes, ideas, or characters do they share? How do they differ? What does the lens text reveal about the target text that you might not have noticed otherwise?

Once you’ve considered these questions, you should be ready to develop a thesis about how the lens text illuminates the target text. Your thesis should be specific, and it should make an argument about how the lens text helps us to understand the target text in a new or different way.

Finally, write an essay in which you analyze the target text using the lens text as a guide. In your essay, be sure to discuss both the similarities and the differences between the two texts. How do they illuminate each other? What can we learn from looking at the target text through the lens of the other?

A lens essay can be a challenging, but ultimately rewarding, exercise in close reading and interpretation. By using one text to shed light on another, you can gain a deeper understanding of both.

Exploring the Lens or Theoretical Framework

When you are asked to write a lens essay, you will be asked to analyze a particular text through a specific lens. This may be a literary work, a film, a political document, or anything else that can be looked at in different ways. In order to write a successful lens essay, you will need to have a strong understanding of the text you are analyzing and the lens through which you will be viewing it.

There are a few steps you can take to ensure that your essay is successful. First, it is important that you have a clear thesis statement that outlines the main argument of your paper. Next, you will need to provide a detailed analysis of the text, using evidence from the work itself to support your claims. Finally, you will need to discuss the implications of your analysis and how the work can be interpreted in different ways.

If you follow these steps, you will be well on your way to writing a successful lens essay. Remember to stay focused on your argument and to use evidence from the text to support your claims. With a little practice, you will be able to write a lens essay that explores the different ways a text can be interpreted.

Identifying Points of Convergence and Divergence

In a lens essay, two texts are brought into conversation with one another in order to shed new light on each. The lens essay typically employs a theoretical text as a lens and uses it to examine a more concrete text. In this way, the lens essay brings together two texts that may initially seem quite different in order to explore a larger issue.

There are a few things to keep in mind when writing a lens essay. First, it is important to identify the points of convergence and divergence between the two texts. Convergence occurs when the texts share something in common, while divergence occurs when the texts differ from one another. It is important to note both the points of convergence and divergence, as they will inform your reading of the texts.

Next, it is important to situate the texts within a larger context. What is the historical moment in which the texts were written? What are the larger issues at play that the texts address? By situating the texts within a larger context, you can begin to see how they speak to one another.

Finally, it is important to bring your own critical lens to the texts. What are you hoping to learn by bringing these texts into conversation with one another? What new insights can you glean from this conversation?

By keeping these things in mind, you can write a strong lens essay that brings two texts into conversation with one another in order to explore a larger issue.

Crafting a Clear Thesis Statement

A thesis statement is a sentence or two that states the main argument of your essay. It tells your readers what you’re going to be discussing in the paper and helps to keep your writing focused. In a lens essay, your thesis statement will typically be located at the end of your introduction.

There are a few things to keep in mind when crafting your thesis statement for a lens essay:

1. Make sure that your thesis statement is clear and concise.

2. Be sure to take a position on the issue at hand. A lens essay is not simply a summary of another text.

3. Be sure that your thesis statement is arguable. In other words, it should be something that someone could reasonably disagree with.

4. Keep in mind that your thesis statement will likely be one of the first things that your readers encounter in your paper. As such, it’s important to make sure that it is well-crafted and pack a punch.

With these things in mind, let’s take a look at a few examples of thesis statements for lens essays.

“In ‘The Great Gatsby,’ F. Scott Fitzgerald uses the lens of Jay Gatsby to explore the issue of the American dream.”

In this thesis statement, we can see that the author has taken a position on the issue at hand (the American dream) and that they are using the character of Jay Gatsby as a lens through which to examine it. This is a strong thesis statement that is arguable and provides a clear focus for the rest of the essay.

“Though ‘The Catcher in the Rye’ is often seen as a coming-of-age story, Holden Caulfield’s lens reveals a much darker view of adolescence.”

This thesis statement also takes a position on the interpretation of the novel, in this case arguing that it should be seen as a darker story than is typically assumed. Again, the use of Holden Caulfield as a lens is key to this interpretation.

“Through the lens of Scout Finch, Harper Lee’s ‘To Kill a Mockingbird’ challenges the idea that justice is always served.”

This thesis statement argues that the novel is not a simple story of justice being served, as is often assumed, but instead uses the character of Scout Finch to challenge this idea.

These are just a few examples of thesis statements for lens essays. In each case, the thesis statement takes a position on the interpretation of the text and uses the lens character to support this interpretation.

If you’re having trouble crafting a strong thesis statement for your lens essay, remember to keep these things in mind: take a position on the issue, make sure your thesis is arguable, and focus on creating a strong, punchy statement that will grab your reader’s attention.

Integrating Evidence and Examples

A lens essay is a type of critical writing that focuses on a particular text or piece of artwork through the lens of a critical theory or approach. In other words, a lens essay provides a critical interpretation of a given text or artwork by using a particular theoretical framework or lens.

There are a number of different ways to approach writing a lens essay, but regardless of approach, there are a few key elements that all lens essays should include. First and foremost, a lens essay must provide a thesis statement that states the overall argument or interpretation that the essay will be providing. This thesis should be based on a close reading of the text or artwork in question and should make use of evidence and examples from the text or artwork to support the thesis.

In addition to a thesis statement and evidence-based support, a lens essay should also include a discussion of the implications of the argument or interpretation. What does this argument or interpretation mean for our understanding of the text or artwork in question? What are the larger implications of this argument or interpretation? These are the kinds of questions that a lens essay should seek to answer.

If you are interested in writing a lens essay, there are a few things that you will need to keep in mind. First, you will need to choose a text or artwork to focus on. It is important to choose a text or artwork that you are familiar with and that you feel confident in your ability to interpret. Second, you will need to choose a critical theory or approach to use as your lens. There are many different critical theories and approaches that can be used, so it is important to choose one that you are familiar with and that you think will help you to interpret the text or artwork in question in a new and interesting way.

Once you have chosen a text or artwork to focus on and a critical theory or approach to use as your lens, you will need to close read the text or artwork in question. As you close read, you should be looking for evidence and examples that you can use to support your thesis statement. Once you have gathered this evidence, you can begin to formulate your argument or interpretation.

Once you have formulated your argument or interpretation, you should then turn your attention to the implications of this argument or interpretation. What does this argument or interpretation mean for our understanding of the text or artwork in question? What are the larger implications of this argument or interpretation? These are the kinds of questions that you should seek to answer in your lens essay.

If you keep these key elements in mind, you should be well on your way to writing a successful lens essay.

Writing a Comparative Analysis

A comparative analysis essay is an essay that compares two or more subjects. These subjects can be related to each other, or they can be completely different. For example, you might compare two different theories, or two different works of literature.

When writing a comparative analysis essay, you need to first identify the similarities and differences between the subjects you are comparing. Once you have done this, you can then start to write your essay.

There are a few different ways that you can structure your comparative analysis essay. One way is to simply list the similarities and differences between the subjects. Another way is to start with a general introduction, and then move on to discuss the similarities and differences between the subjects.

Whichever way you choose to structure your essay, make sure that each paragraph focuses on one particular point. Also, make sure to use evidence from both subjects to support your points.

If you are having trouble getting started, try brainstorming a list of the similarities and differences between the subjects you are comparing. Once you have this list, you can then start to create your essay outline.

If you need help writing your comparative analysis essay, there are a few places you can turn to for assistance. First, you can speak to your professor or TA. They will be able to give you some tips on how to get started.

You can also find a number of resources online that can help you write your essay. There are a number of websites that offer essay writing tips, and there are also a number of essay writing services that you can use.

Remember, when writing your comparative analysis essay, it is important to first identify the similarities and differences between the subjects you are comparing. Once you have done this, you can then start to write your essay. Use evidence from both subjects to support your points, and make sure to structure your essay in a way that makes it easy to follow.

Concluding with a Critical Evaluation

A lens essay is a type of analytical essay that focuses on a particular text or piece of media. In order to write a successful lens essay, you must have a clear thesis, an engaging introduction, and a well-organized argument.

Your thesis should be a statement about how the text or media you are analyzing reflects a larger issue or theme. For example, you could argue that the novel you are studying reflects the social ills of its time period.

Your introduction should give your reader a clear sense of your argument. It should also explain why you have chosen to focus on this particular text or piece of media.

Your argument should be well-organized and supported by evidence from the text or media you are analyzing. Be sure to use specific examples to illustrate your points.

Your conclusion should summarize your argument and offer a critical evaluation of your evidence. It should also explain how your analysis contributes to our understanding of the larger issue or theme you were exploring.

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lens essay meaning

Tag Archives: lens essay

“the death of ivan ilych: a psychological study on death and dying” as a lens essay.

The lens essay is a commonly-assigned paper, particularly in Writing Seminars. The prompt for such a paper often asks students to “critique and refine” an argument, to use a source as a lens through which to view another source and in the process gain a better understanding of both sources. This type of essay can be hard to explain and difficult to understand, so it is one of the most common types of essays we see in the Writing Center.

Recently, I read Y.J. Dayananda’s paper “ The Death of Ivan Ilych : A Psychological Study On Death and Dying ” which uses the lens technique. In this paper, Dayananda examines Tolstoy’s famous short story The Death of Ivan Ilych through the lens of Dr. E. K. Ross’s psychological studies of dying, particularly her five-stage theory. Dayananda’s paper features strong source use, shows how structure can be informed by those sources, and serves as a model for an effective and cross-disciplinary lens essay.

Dayananda establishes the paper’s argument clearly at the end of the introduction, setting up the paper’s thesis in light of this lens technique and providing the rationale (part of the motive) behind applying Ross’s study to Tolstoy’s story:

I intend to draw upon the material presented in Dr. Ross’s On Death and Dying and try to show how Tolstoy’s Ivan Ilych in The Death of Ivan Ilych goes through the same five stages. Psychiatry offers one way to a better illumination of literature. Dr. Ross’s discoveries in her consulting room corroborate Tolstoy’s literary insights into the experience of dying. They give us the same picture of man’s terrors of the flesh, despair, loneliness, and depression at the approach of death. The understanding of one will be illuminated by the understanding of the other. The two books, On Death and Dying and The Death of Ivan Ilych , the one with its systematically accumulated certified knowledge, and disciplined and scientific descriptions, and the other with its richly textured commentary, and superbly concrete and realistic perceptions, bring death out of the darkness and remove it from the list of taboo topics. Death, our affluent societies newest forbidden topic, is not regarded as “obscene” but discussed openly and without the euphemisms of the funeral industry.

Dayananda then organizes the paper in order of the five stages of Dr. Ross’s theory: denial, loneliness, anger, bargaining, depression, and acceptance. This gives the paper a clear structure and places the texts into conversation with each other on an organizational level. As the reader moves through each stage, Dayananda combines quotations from Dr. Ross’s study and evidence from The Death of Ivan Ilych to show how Ivan Ilych experiences that stage.

Dayananda’s interdisciplinary close-reading of Tolstoy’s text through the lens of Dr. Ross’s study allows us to better understand what Ivan is experiencing as we learn the psychology behind it. As Dayananda writes, “psychoanalysis offers a rich, dynamic approach to some aspects of literature.” The only way Dayananda’s paper could have been strengthened is if the essay also argued explicitly how reading the literature critiques or refines the psychological text, as the best lens essays run both ways. However, overall, Dayananda sets up and executes an original and effective lens reading of The Death of Ivan Ilych.

–Paige Allen ’21

Dayananda, Y. J. “ The Death of Ivan Ilych: A Psychological Study On Death and Dying .” Tolstoy’s Short Fiction: Revised Translations, Backgrounds and Sources, Criticism , by Lev Nikolaevich Tolstoi and Michael R. Katz, Norton, 1991, pp. 423–434.

The Shade of the Body: Notions of Materiality in Rauschenberg’s Dante Series

In a Tortoiseshell: In the paper excerpted below, the author builds a graduated version of the lens thesis: She analyzes Robert Rauschenberg’s 34 Drawings for Dante’s Inferno in the context of Dante’s Inferno itself, using close reading as well as scholarly texts to make a subtle argument about both texts.

Continue reading →

The “Immense Edifice”: Memory, Rapture, and the Intertemporal Self in Swann’s Way

In a Tortoiseshell: This excerpt from Andrew Mullen’s essay “The ‘Immense Edifice”:  Memory, Rapture, and the Intertemporal Self in Swann’s Way ” concerns the analysis of Marcel Proust’s “ Swann’s Way ” through the lens of Claudia Brodsky’s essay on narration and memory. Andrew’s essay is a prime example of the lens essay –an essay that is structured around the analysis of a source text using a theoretical framework provided by another. Continue reading →

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Writing Beginner

What Is A Lens In Writing? (The Ultimate Guide)

Ever feel like your writing is stuck in a one-dimensional rut? Then you need to use a lens.

What is a lens in writing?

A lens in writing is a tool that shifts your perspective, like looking through a kaleidoscope. Writing lenses include historical, psychological, and critical. Use a writing lens to analyze, interpret, and craft richer, more engaging writing.

Buckle up, language enthusiast, because this ultimate guide dives deep into the fascinating world of writing lenses.

What Is a Lens in Writing? (10 Types)

Close-up of a man's face, split between old-fashioned glasses on one side and modern sunglasses on the other - What is a lens in writing

Table of Contents

Think of a lens as a specific viewpoint or approach you adopt while writing.

It guides how you dissect information, select arguments, and craft your message.

Whether you analyze literature, dissect historical events, or craft marketing copy, lenses offer unique filters through which you process and present your ideas.

To simplify your journey, I’ve compiled a handy chart outlining 10 popular lenses:

Go ahead, bookmark this chart! It’s your cheat sheet to unlocking a universe of creative perspectives.

Now, let’s explore each lens, equipping you to wield them like a writing ninja.

Through the Lens of Time: The Historical Lens

What it is: The historical lens transports you to the past, examining your topic within the context of its era. This involves considering the social, political, and cultural factors that shaped events and influenced individuals.

How to use it: Research the historical context: dig into primary sources like documents, letters, and diaries. Analyze social norms, political structures, and major events of the time period. Consider how these factors influenced your topic and how your understanding might differ from a modern perspective.

Example: Analyzing a Shakespearean play through the historical lens involves understanding Elizabethan social hierarchy, religious beliefs, and theatrical conventions. This helps you interpret character motivations, plot developments, and the play’s overall message within its historical context.

Unveiling the Mind: The Psychological Lens

What it is: The psychological lens delves into the inner workings of the human mind, exploring characters’ motivations, behaviors, and mental states. It draws on psychological theories to analyze their actions, reactions, and thought processes.

How to use it: Identify key characters and their actions. Apply relevant psychological theories, such as Freudian psychoanalysis or cognitive-behavioral therapy, to explain their motivations. Analyze how their experiences and environment shape their behavior and mental state.

Example: Examining Hamlet’s indecisiveness and introspection through a psychological lens could involve applying Freudian concepts like the Oedipus complex and existential anxieties. This deepens your understanding of his character and the play’s exploration of human nature.

Decoding Social Structures: The Sociological Lens

What it is: The sociological lens focuses on the interactions, norms, and power dynamics within communities and societies. It examines how individuals and groups relate to each other, considering factors like social class, race, gender, and cultural values.

How to use it: Identify the social context of your topic: analyze social structures, power dynamics, and potential conflicts within the group or society. Consider how these factors influence individual experiences and group behaviors. Apply sociological theories like conflict theory or symbolic interactionism to explain observations.

Example: Analyzing a social media trend through the sociological lens might involve examining how it reflects broader cultural values, power dynamics between different groups, and the role of technology in shaping social interactions.

Weighing Wallets and Resources: The Economic Lens

What it is: The economic lens analyzes the financial aspects of a topic, focusing on production, consumption, and distribution of resources. It considers factors like market forces, economic policies, and social inequalities.

How to use it: Identify the economic context: analyze relevant economic concepts like supply and demand, resource allocation, and market structures. Explore how economic factors influence your topic and the individuals involved. Consider potential economic consequences of different actions or policies.

Example: Evaluating the impact of climate change through the economic lens might involve analyzing its effects on different industries, economic losses due to extreme weather events, and potential costs of implementing mitigation strategies.

Unveiling Power Plays: The Political Lens

What it is: The political lens examines the dynamics of power, governance, and influence within a political system. It analyzes how decisions are made, power is distributed, and individuals or groups compete for influence.

How to use it: Identify the political context: understand the structure of government, key political actors, and prevailing ideologies. Analyze how political dynamics influence your topic and the individuals involved. Consider potential political implications of different actions or policies.

Example: Examining a protest movement through the political lens might involve analyzing its demands in relation to existing power structures, the influence of political parties, and potential responses from the government.

Beyond Biology: The Gender Lens

What it is: The gender lens analyzes how gender identities, roles, and expectations shape experiences and social structures. It examines how individuals and groups are affected by societal norms and power dynamics related to gender.

How to use it: Identify the gender context: analyze dominant societal expectations for different genders, consider power dynamics and potential inequalities. Explore how gender roles and identities influence your topic and the individuals involved.

Example: Analyzing a novel through the gender lens might involve examining how female characters challenge or conform to societal expectations, exploring the portrayal of masculinity, and questioning power dynamics between genders.

Understanding Shared Values: The Cultural Lens

What it is: The cultural lens delves into the shared beliefs, values, and practices of a particular group or society. It examines how cultural norms, traditions, and customs shape experiences and behaviors.

How to use it: Identify the cultural context: research the specific belief systems, traditions, and values relevant to your topic and target audience. Analyze how cultural factors influence the perception and interpretation of your topic.

Example: Comparing advertising strategies across different cultures through the cultural lens might involve examining how humor, color symbolism, and family dynamics differ and how these differences impact marketing effectiveness.

The Power of Words: The Rhetorical Lens

What it is: The rhetorical lens analyzes how language is used to persuade, inform, or entertain. It examines the speaker’s purpose, strategies, and techniques to achieve their desired effect on the audience.

How to use it: Identify the speaker’s purpose and target audience. Analyze the language used, considering elements like tone, imagery, and emotional appeals. Evaluate the effectiveness of the speaker’s strategies in achieving their desired response.

Example: Analyzing a political speech through the rhetorical lens might involve examining how the speaker uses persuasive techniques like repetition, emotional appeals, and logical arguments to influence the audience’s opinion.

Preserving Our Planet: The Environmental Lens

What it is: The environmental lens considers the impact of human actions on the natural world. It examines issues like sustainability, resource management, and ecological consequences of human activities.

How to use it: Identify the environmental context: analyze the ecological impact of your topic and consider relevant environmental issues. Explore potential solutions and sustainable practices related to your topic.

Example: Evaluating the social impact of a new technology through the environmental lens might involve considering its energy consumption, potential pollution, and impact on biodiversity and resource depletion.

Shaping the Future: The Technological Lens

What it is: The technological lens examines the role of technology in society, focusing on its development, impact, and ethical implications. It analyzes how technology shapes our lives and raises important questions about its future evolution.

How to use it: Identify the technological context: understand the specific technology and its development stage. Analyze the social, economic, and ethical implications of its use. Consider potential future scenarios and responsible tech development practices.

Example: Discussing the potential benefits and risks of artificial intelligence through the technological lens might involve analyzing its impact on jobs, automation, and potential biases, highlighting the need for ethical considerations in its development and deployment.

Remember, these are just a few of the many writing lenses available. With practice and exploration, you can unlock a world of creative possibilities, enriching your writing and engaging your audience with diverse perspectives.

What Is a Critical Lens in Writing?

A critical lens is, in essence, a specific perspective or approach you adopt to critically examine a topic or text.

It acts as a filter, guiding how you analyze information, evaluate arguments, and ultimately shape your understanding.

Unlike mere summaries or descriptions, critical lenses encourage in-depth questioning, pushing you beyond surface-level observations to unearth deeper meanings and underlying assumptions.

Think of it this way: Imagine examining a painting through a magnifying glass.

While you could simply describe the colors and shapes, the magnifying glass allows you to closely scrutinize brushstrokes, textures, and hidden details, revealing the artist’s technique and message in a nuanced way.

Similarly, critical lenses empower you to zoom in on information, dissecting its layers and uncovering its deeper significance.

But remember, critical lenses are not about imposing a singular “correct” interpretation.

Watch this video about writing a critical lens essay:

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lens essay meaning

Critical Lens Essay: Writing Process Explored in Just One Article

Back on your studies again, aren't you? Well, what is it that you are looking for now? Ah, a critical lens essay. That may sound easy, alright, but you might feel that it poses a massive challenge, and rightly so. Don't you worry, though, because once you are done reading this helpful guide, you will have a very clear picture of how to write your critical lens essay. So, grab a cup of coffee and make yourself comfortable because we're about to begin.

What is a Critical Lens Essay?

Quite a lot of students these days keep asking themselves the same question: "what is a critical lens essay?" The critical lens essay is a kind of the critical analysis essay which focuses on the interpretation of a direct quote from a piece of literature. That may not seem like a good explanation, but in this case, it doesn't need to be too extensive. Writing a critical lens essay is not about throwing theory terms left and right, it's about actually putting the right words into the proper order.

The point is that many famous literary pieces are frequently quoted quite extensively, but the problem is that individuals doing that may not necessarily be familiar with any background information, nor are they aware of the context to which the quote belongs. The way people citing quotes understand them is very much different from their author's intended meaning and, as a result, such quotes end up living their own independent lives. Another extreme is that many people in their speeches and writings support their viewpoint with quotations, which are also taken out of context, thus gradually changing their original meaning in their audience's collective mind. This is why it is always a good idea to actually look at a quote through a critical lens, interpreting it with regards to its context and other circumstances which determine its meaning. But how do you go about writing an essay like that? Critical lens essays are known to have a very rigorous structure, and itis very important to follow it to the letter. So, let us have a closer look at the process of writing .

How to Write a Critical Lens Essay Step by Step

Let us look into the essential steps you're bound to take while writing a critical lens essay. Indeed, they may differ depending on the case, but we suggest coming up with and sticking to the general plan, which is the key to writings an excellent critical lens essay.

The first thing you should do before starting on your essay is find an unusual or particularly famous and widely misunderstood quotation. Also, make sure to find a source your quote is taken from to spare your readers the trouble of finding it by themselves. Once that has been taken care of, it's time to move on to observing other equally essential formalities.

Defining critical lens essay format

It is wrong to assume that critical lens essays are all written in accordance with just one format or citation style. The format of your essay will depend primarily on the citation style that your professor will require you to adhere to; MLA, APA, Chicago Turabian and Harvard being the most common ones. So, check it out with your professor and find a respective post in our blog to know what the standards of your particular citation style are. Keep in mind that your professor may require you to make certain modifications to the requested citation style. For instance, an APA style paper is supposed to have a title page, but some professors mayo specifically instruct their students to avoid those. Therefore, to be on the safe side, we recommend you always take note of all the modifications your professor may require you to do.

The typical structure of a critical lens essay

At first glance, it may seem that there is nothing extraordinary about the structure of the critical lens essay: an introduction containing a thesis, three body paragraphs designed to support said thesis, and a conclusion meant to restate the arguments and summarize the results of your study. However, in the majority of cases, the structure of each of these individual parts is clearly predetermined.

Critical lens essay introduction

Your title page (if requested by your citation style), abstract, and outline (if required by your professor) are followed by the introductory paragraph of your essay . It is supposed to start with an attention getter, which in our case should be the quote you're working on. Therefore, make sure you choose a memorable phrase, such that is an arguable yet widely recognized and impressive one.

Your next sentence should explain the quotation or provide your incentives to select it and/or the context to which it belongs. Then comes the culmination of your introductory paragraph: the thesis . Claim something disputive about the quote, the simplest thing here being agreeing or disagreeing with it, and then prove whether or not it is right. You may also state something about the context of your quote or its actual meaning, which can be different from the widely recognized one.

Provide one more sentence, in which you announce your arguments by explaining how you are going to prove your point. This part may sometimes be longer than just one sentence, but for the sake of complying with the classical structure of the critical lens essay, it is better to fit this information into one sentence. However, you should refrain from making it too long and taking up an entire page. If it is absolutely necessary, it is better to split it into several sentences instead of piling up a pyramid made up of multiple subordinate clauses.

Exploring critical lens essay's body paragraphs

Being the significant part of your essay , the body typically comprises three paragraphs, of which the first ones are meant to provide the reader with a structure, which somewhat replicates the introduction.

Before explaining your thoughts in detail, it's always a good idea to start with a literary element, such as a quote, citation or literary device, which is meant to support your thesis. The last paragraph is supposed to convey the author's interpretation of the quote in its relation to the evidence analyzed. In the classic critical lens essay, the body paragraphs are meant to have four sentences each. However, if the essay is too long to limit each of its body paragraphs to just this amount, it should replicate the primary structure of the classic essay by expanding each of the sentences to include several new ones, if necessary. Basically, don't limit yourself to just this plan if you feel like you have something more to say. Keep it concise, though. Every sentence should be ripe with information.

How to develop a critical lens essay conclusion

The conclusion is a very important part of your critical lens essay because it summarizes all the evidence and shows how your whole text body supports the thesis . Be sure to include all these elements in your essay's conclusion, because it's precisely the thing that leaves the final and lasting impression upon your reader. Work hard on it!

Critical Lens Essay Topics Examples

The examples of critical lens essay topics may be diverse, but we will just provide a couple of ideas for you to consider. A very widely cited quotation by the ancient Roman poet Juvenal goes like this: "Mens sana in corpore sano." Torn out of its context, it has been used to support various and even diverse viewpoints of the people who do not even know or care where the quote derives from. This quote is most frequently translated into English as follows: "A healthy mind in a healthy body." Some people interpret this by claiming that a healthy mind can only exist in a healthy body, while others, who subscribe to the notion of the mind being primary, maintain that if the mind is healthy, then it will create the conditions for the body to remain healthy. To a certain extent, one can agree with either of these points, but what did the author actually mean by it? Isn't that's an excellent topic for your critical lens essay?

Let's take another widely quoted statement "Curiosity killed the cat." Not a lot of people know that the prolonged version of this saying actually goes on to tell that "satisfaction brought it back." In this case, the second part about the cat being revived is missing, thus making it an interesting topic for your critical lens essay.

Here are a few more useful tips on how to write an excellent critical lens essay:

Do not try to start writing your essay by developing the introduction - work on your body paragraphs first. And it is not until after you are done putting them together that you can proceed with your introduction and conclusion. It is much easier that way, since in your introduction and conclusion you will have to refer to your body paragraphs, and thus it is better to write them by then.

For your convenience, we have broken down the whole process of writing the critical lens essay into 10 easy-to-follow steps:

  • Choose your topic.
  • Work out a thesis.
  • Conduct the necessary research .
  • Write your body paragraphs.
  • Come up with your introduction and conclusion.
  • Design your cover page and reference list.
  • Format your paper.
  • Do the spell check (if necessary).
  • Get some rest. At this point, it is a good idea to have the paper proofread by somebody else.
  • Proofread the paper by yourself for the last time.

Now, you are ready to submit a perfectly structured critical lens essay.

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What Is a Critical Lens Essay?

A critical lens essay is a form of narrative essay containing five paragraphs covering a certain opinion of a direct quote. The standard five-paragraph format includes an introduction, three supporting paragraphs, and a conclusion. Each of the paragraphs examines critically the main point presented by the writer. Paragraphs in the critical lens essay are extremely structured and must adhere to certain guidelines in order to be written correctly.

In the first sentence of the introduction paragraph, the writer of the essay takes a direct quote from one of the pieces of literature and copies it. Then, the writer reinterprets that quote using original words and thoughts which are directly related. In the third sentence of the introduction, the writer states either agreement or disagreement with the opinion and gives reasons for support. The writer states which two literary works will be examined throughout the remainder of the essay.

The second and third paragraphs follow a different format as the introduction, but are written in the same way. The first sentence includes a literary element taken from one of the books, such as theme, characterization or the setting, and proves the point. Next, the writer shows how that point was proven and follows up with one more supporting sentence. The last sentence in the paragraph summarizes the thoughts presented.

In a critical lens essay, the fourth paragraph is based on the writer’s personal experiences. The paragraph should be written using the standard four- sentence structure . It either proves or disproves the point of view presented in the preceding two paragraphs.

After all ideas are presented using the outlined format, the writer concludes the essay by restating the original quote in the first sentence. The next sentence is a summary of why the quote is true or false followed by a prediction about future events in the next sentence. The individual should use another quote from one of the chosen works to further support the writer’s ideas to tie up the critical lens essay.

These types of essays are written for a variety of reasons. One reason is to sway the reader's point of view on a particular famous quote or to offer fresh insight into the meaning of the quote. In addition to that, the critical lens essay is assigned to assess the student’s skills in reading, writing and critical thinking . They are used to narrow the scope of a specific piece of literature.

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Literary analysis: applying a theoretical lens.

A common technique for analyzing literature (by which we mean poetry, fiction, and essays) is to apply a theory developed by a scholar or other expert to the source text under scrutiny. The theory may or may not have been developed in the service literary scholarship.  One may apply, say, a Marxist theory of historical materialism to a novel, or a Freudian theory of personality development to a poem. In the hands of an analyst, another’s theory (in parts or whole) acts as a conceptual lens that when brought to the material brings certain elements into focus. The theory magnifies aspects of the text according to its special interests. The term  theory may sound rarified or abstract, but in reality a theory is simply an argument that attempts to explain something. Anytime you go to analyze literature—as you attempt to explain its meanings—you are applying theory, whether you recognize its exact dimensions or not. All analysis proceeds with certain interests, desires, and commitments (and not others) in mind. One way to define the theory—implicit or explicit—that you bring to a text is to ask yourself what assumptions (for instance, about how stories are told, about how language operates aesthetically, or about the quality of characters’ actions) guide your findings. A theory is an argument that attempts to explain something.

Let’s turn again to the insights about using theories to analyze literature provided in Joanna Wolfe’s and Laura Wilder’s  Digging into Literature: Strategies for Reading, Analysis, and Writing (Boston: Bedford/St. Martin’s, 2016).

Here’s a brief example of a writer using a theoretical text as a lens for reading the primary text :

In her book,  The Second Sex , the feminist philosopher Simone de Beauvoir describes how many mothers initially feel indifferent toward and estranged from their new infants, asserting that though “the woman would like to feel that the new baby is surely hers as is her own hand,. . . she does not recognize him because. . .she has experienced her pregnancy without him: she has no past in common with this little stranger” (507). Sylvia Plath’s “Morning Song” exemplifies the indifference and estrangement that de Beauvoir describes. However, where de Beauvoir asserts that “a whole complex of economical and sentimental considerations makes the baby seem either a hindrance or a jewel” (510), Plath’s poem illustrates how a child can simultaneously be both hindrance and jewel. Ultimately, “Morning Song” shows us how new mothers can overcome the conflicting emotions de Beauvoir describes.

Daniel DiGiacomo.  From Mourning Song to “Morning Song”: The Maturation of a Maternal Bond.

Notice that in this brief passage, the writer fairly represents de Beauvoir’s theory about maternal feelings, then goes on to apply a portion of that theory to Plath’s poem, a focusing move that establishes the writer’s special interest in an aspect of Plath’s text. In this case, the application yields new insight about the non-universality of de Beauvoir’s theory, which Plath’s poem troubles.  The theory magnifies a portion of the primary text, and its application puts pressure on the soundness of the theory.

Theory Dialectic

Applying a Theoretical Lens: W.E.B. Du Bois Applied to Langston Hughes

Experienced literary critics are familiar with a wide range of theoretical texts they can use to interpret a primary text. As a less experienced student, your instructors will likely suggest pairings of theoretical and primary texts.  We would like you to consider the writerly workings of the theory-primary text application by examining a student’s paper entitled “Double-consciousness in ‘Theme for English B,” an essay which uses W.E.B. Du Bois’s theory (of  double-consciousness ) to elucidate and interpret Langston Hughes’s poem (“Theme for English B”). W.E.B. Du Bois (1868-1963) was an American sociologist, civil rights activist, author, and editor. Langston Hughes (1902-1967) was an American poet, activist, editor, and guiding member of the group of artists now known as the Harlem Renaissance.

But before you can make sense of that student’s essay, we ask that you read both a synopsis of the  theoretical text   and the   primary text .

Primary Text

The instructor said,

Go home and write  a page tonight.

And let that page come out of you—

Then, it will be true.

I wonder if it’s that simple?

I am a twenty-two, colored, born in Winston-Salem.

I went to school there, then Durham, then here

to this college on the hill above Harlem,

I am the only colored student in my class.

The steps from the hill lead down into Harlem through a park, then I cross St. Nicholas,

Eighth Avenue, Seventh, and I come to the Y,

the Harlem Branch Y, where I take the elevator

up to my room, site down, and write this page:

It’s not easy to know what is true for you or me

at twenty-two, my age. But I guess I’m what

I feel and see and hear, Harlem, I hear you:

hear you, hear me—we two—you, me, talk on this page.

(I hear New York, too.) Me—who?

Well, I like to eat, sleep, drink, and be in love.

I like to work, read, learn, and understand life.

I like a pipe for a Christmas present,

or records—Bessie, bop, or Bach.

I guess being colored doesn’t make me not like

the same things other folks like who are other races.

So will my page be colored that I write?

Being me, it will not be white.

But it will be  a part of you, instructor.

You are white—

yet a part of me, as I am a part of you.

That’s American.

Sometimes perhaps you don’t want to be a part of me.

Nor do I often want to be a part of you.

But we are, that’s true!

As I learn from you,

I guess you learn from me—

although you’re older—and white—

and somewhat more free.

Theoretical Text 

W.E.B. Du Bois

Of Our Spiritual Strivings

O water, voice of my heart, crying in the sand,

All night long crying with a mournful cry,

As I lie and listen, and cannot understand

The voice of my heart in my side or the voice of the sea.

O water, crying for rest, is it I, is it I?

All night long the water is crying to me.

Unresting water, there shall never be rest

Till the last moon drop and the last tide fall,

And the fire of the end begin to burn in the west;

And the heart shall be weary and wonder and cry like the sea,

All life long crying without avail

As the water all nigh long is crying to me.

                    —Arthur Symons

Between me and the other world there is an unasked question: unasked by some through feelings of delicacy; by others through the difficulty of rightly framing it. All, nevertheless, flutter round it. They approach me in a half-hesitant sort of way, eye me curiously or compassionately, and then, instead of saying directly, How does it feel to be a problem? they say, I know an excellent colored man in my town; or I fought at Mechanicsville; or Do not these Southern outrages make your blood boil? At these I smile, or am interested, or reduce the boiling to a simmer, as the occasion may require. To the real question, How does it feel to be a problem? I answer seldom a word.

And yet, being a problem is a strange experience—peculiar even for one who has never been anything else, save perhaps in babyhood and in Europe. It is in the early days of rollicking boyhood that the revelation first bursts upon one, all in a day, as it were. I remember well when the shadow swept across me. I was a little thing, away up in the hills of New England, where the dark Housatonic winds between Hoosac and Taghkanic to the sea. In a wee wooden schoolhouse, something put it into the boys’ and girls’ heads to buy gorgeous visiting-cards—ten cents a package—and exchange. The exchange was merry, till one girl, a tall newcomer, refused my card—refused it peremptorily, with a glance. Then it dawned upon me with a certain sadness that I was different from the others; or, like, mayhap, in heart and life and longing, but shut out from their world as by a vast veil. I had thereafter no desire to tear down that veil, to creep through; I held all beyond it in common contempt, and lived above it in a region of blue sky and great wandering shadows. That sky was bluest when I could beat my mates at examination time, or beat them at a footrace, or even beat their stringy heads. Alas, with the hears all this fine contempt began to fade; for the worlds I long for, and all their dazzling opportunities, were theirs, not mine. But they should not keep these prizes, I said; some, all, I would wrest from them. Just how I would do it I could never decide: by reading law, by healing the sick, by telling the wonderful tales that swam in my head—some way. With other black boys the strife was not so fiercely sunny: their youth shrunk into tasteless sycophancy, or into silent hatred of the pale world about them and mocking distrust of everything white, or wasted itself in a bitter cry, Why did God make me an outcast and a stranger in mine own house? The shades of the prison-house closed round about us all: walls strait and stubborn to the whitest, but relentlessly narrow, tall, and unscalable to sons of night who must plod darkly on in resignation, or beat unavailing palms against the stone, or steadily, half hopelessly, watch the streak of blue above.

After the Egyptian and Indian, the Greek and Roman, the Teuton and Mongolian, the Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world, a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his tw0-ness, an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strengths alone keeps it from being torn asunder.

The history of the American Negro is the history of this strife, this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and spit upon by his fellows, without having the doors of Opportunity closed roughly in his face.

This, then, is the end of his striving: To be a coworker in the kingdom of culture, to escape both death and isolation, to husband and use his best powers and his latent genius. These powers of body and mind have in the past been strangely wasted, dispersed, or forgotten. The shadow of a might Negro past flits through the tale of Ethiopia the Shadowy and of Egypt the Sphinx. Throughout history, the powers of single black men flash here and there like falling stars, and die sometimes before the world has rightly gauged their brightness. Here in America, in the few days since Emancipation, the black man’s turning hither and thither in hesitant and doubtful striving has often made his very strength to loos effectiveness, to seem like absence of power, like weakness.  And yet it is not weakness—it is the contradiction of double aims. The double-aimed struggle of the black artisan—on the one hand to escape white contempt for a nation of mere hewers of wood and drawers of water, and on the other hand to plough and nail and dig for a poverty-stricken horde—could only result in making him a poor craftsman, for he had but half a heart either cause. By the poverty and ignorance of his people, the Negro minister or doctor was tempted toward quackery and demagogy; and by the criticism of the other world, toward ideals that made him ashamed of his lowly tasks. The would-be black savant was confronted by the paradox that the knowledge his people needed was a twice-told tale to his white neighbors, while the knowledge which would teach the white world was Greek to his own flesh and blood. The innate love of harmony and beauty that set the ruder souls of his people a-dancing and a-singing raised but confusion and doubt in the soul of the black artist; for the beauty revealed to him was the soul-beauty of a race which his larger audience despised, and he could not articulate the message of another people. This waste of double aims, this seeking to satisfy two unreconciled ideals, has wrought sad havoc with the courage and faith and deeds of ten thousand thousand people—has sent them often wooing false gods and invoking false means of salvation, and at times has even seemed about to make them ashamed of themselves.

Away back in the days of bondage they thought to see in one divine event the end of all doubt and disappointment; few men ever worshipped Freedom with half such unquestioning faither as did the American Negro for two centuries. To him, so far as he thought and dreamed, slavery was indeed the sum of all villainies, the cause of all sorrow, the root of all prejudice; Emancipation was the key to a promised land of sweeter beauty than ever stretched before the eyes of wearied Israelites. In song and exhortation swelled one refrain—Liberty; in his tears and curses the God he implored had Freedom in his right hand. At last it came—suddenly, fearfully, like a dream. With one wild carnival of blood and passion came the message in his own plaintive cadences:—

“Shout, O children!

Shout, you’re free!

For God has bought your liberty!”

Years have passed away since then—ten, twenty, forty; forty years of national life, forty years of renewal and development, and yet the swarthy scepter sits in its accustomed seat at the Nation’s feast. In vain do we cry to this our vastest social problem:—

“Take any shape but that, and my firm nerves

Shall never tremble!”

The Nation has not yet found peace from its since; the freedman has not yet found in freedom his promised land. Whatever of good may have come in these years of change, the shadow of a deep disappointment rests upon the Negro people—a disappointment all the more bitter because the unattained ideal was unbounded save by the simple ignorance of a lowly people.

The first decade was merely a prolongation of the vain search for freedom, the boon that seemed ever barely to elude their grasp—like a tantalizing will-o-the-wisp, maddening and misleading the headless host. The holocaust of war, the terrors of the Ku Klux Klan, the lies of carpetbaggers, the disorganization of industry, and the contradictory advice of friends and foes, left the bewildered serf with no new watchword beyond the old cry for freedom. As the time flew, however, he began to grasp a new idea. The ideal of liberty demanded for its attainment powerful means, and these the Fifteenth Amendment gave him. The ballot, which before he had looked upon as a visible sign of freedom, he now regarded as the chief means of gaining and perfecting the liberty with which war had partially endowed him. And why not? Had not votes made war and emancipated millions? Had not votes enfranchised the freedmen? Was anything impossible to a power that had done all this? A million black men started with renewed zeal to vote themselves into the kingdom. So the decade flew away, the revolution of 1876 came, and left the half-free serf weary, wondering, but still inspired. Slowly but steadily, in the following years, a new vision began gradually to replace the dream of political power—a powerful movement, the rise of another ideal to guide the unguided, another pillar of fire by night after a clouded day. It was the ideal of “book-learning”: the curiosity, born of compulsory ignorance, to know and test the power of the cabalistic letters of the white man, the longing to know. Here at last seemed to have been discovered the mountain path to Canaan; longer than the highway to Emancipation and law, steep and rugged, but straight, leading to heights high enough to overlook life.

Up the new path the advance guard toiled, slowly, heavily, doggedly; only those who have watched and guided the faltering feet, the misty minds, the dull understandings, of the dark pupils of these schools know how faithfully, how piteously, this people strove to learn. It was weary work. The cold statistician wrote down the inches of progress here and there, noted also where here and there a foot had slipped or someone fallen. To the tired climbers, the horizon was ever dark, the mists were often cold, the Canaan was always dim and far away. If, however, the vistas disclosed as yet no goal, no resting place, little but flattery and criticism, the journey at least gave leisure for reflection and self-examination; it changed the child of Emancipation to the youth with dawning self-consciousness, self-realization, self-respect. In those somber forests of his striving his own soul rose before him, and he saw himself—darkly as through a veil; and yet he saw in himself some faint revelation of his power, of his mission. He began to have a dim feeling that, to attain his place in the world, he must be himself, and not another. For the first time he sought to analyze the burden he bore upon his back, that deadweight of social degradation partially masked behind a half-named Negro problem. He felt his poverty; without a cent, without a home, without land, tools, or savings, he had entered into competition with rich, landed, skilled neighbors. To be a poor man is hard, but to be a poor race in a land of dollars is the very bottom of hardships. He felt the weight of his ignorance,—not simply of letters, but of life, of business, of the humanities; the accumulated sloth and shirking and awkwardness of decades and centuries shackled his hands and feet. Nor was his burden all poverty and ignorance. The red stain of bastardy, which two centuries of systematic legal defilement of Negro women had stamped upon his race, meant not only the loss of ancient African chastity, but also the hereditary weight of a mass of corruption from white adulterers, threatening almost the obliteration of the Negro home.

A people thus handicapped ought not to be asked to race with the world, but rather allowed to give all its time and thought to its own social problems. But alas! while sociologists gleefully count his bastards and prostitutes, the very soul of the toiling, sweating black man is darkened by the shadow of a vast despair. Men call the shadow prejudice, and learnedly explain it as the natural defense of culture against barbarism, learning against ignorance, purity against crime, the “higher” against the lower races. To which the Negro cries Amen! and swears that to such much of this strange prejudice as is founded on just homage to civilization, culture, righteousness, and progress, he humbly bows and meekly does obeisance. But before that nameless prejudice that leaps beyond all this he stands helpless, dismayed, and well-nigh speechless; before that personal disrespect and mockery, the ridicule and systematic humiliation, the distortion of fact and wanton license of fancy, the cynical ignoring of the better and the boisterous welcoming of the worse, the all-pervading desire to inculcate disdain for everything b lack, from Toussaint to the devil—before this there rises a sickening despair that would disarm and discourage any nation save the black host to whom “discouragement” is an unwritten word.

But the facing of so vast a prejudice could not but bring the inevitable self-questioning, self-disparagement, and lowering of ideals which ever accompany repression and breed in an atmosphere of contempt and hate. Whisperings and portents came borne upon the four winds: Lo! we are diseased and dying, cried the dark hosts; we cannot write, our voting is vain; what we need of education, since we must always cook and serve? And the Nation echoed and enforced this self-criticism, saying: Be content to be servants, and nothing more; what need of higher culture for half-men? Away with the black man’s ballot, by force or fraud—and behold the suicide or a race! Nevertheless, out of the evil came something of good—the more careful adjustment of education to real life, the clearer perception of the Negroes’ social responsibilities, and the sobering realization of the meaning of progress.

So dawned the time of Sturm und Drang: storm and stress today rocks out little boat on the mad waters of the world-sea; there is within and without the sound of conflict, the burning of body and rending of soul; inspiration strives without doubt, and faith with vain questionings. The bright ideals of the past—physical freedom, political power, the training of brains and the training of hands—all these in turn have waxed and waned, until even the last grows dim and overcast. Are they all wrong—all false? No, not that, but each alone was oversimple and incomplete—the dreams of a credulous race-childhood, or the fond imaginings of the other world which does not know and does not want to know our power. To be really true, all these ideals must be melted and welded into one. The training of the schools we need today more than ever—the training of deft hands, quick eyes and ears, and above all the broader, deeper, higher culture of gifted minds and pure hearts. The power of the ballot we need in sheer self-defense—else what shall save us from a second slavery? Freedom, too, the long-sought, we still seek—the freedom of life and limb, the freedom to work and think, the freedom to love and aspire. Work, culture, liberty—all these we need, not singly but together, not successively but together, each growing and aiding each, and all striving toward that vaster ideal that swims before the Negro people, the ideal of human brotherhood, gamed through the unifying ideal of Race; the idea of fostering and developing the traits and talents of the Negro, not in opposition to or contempt for other race, but rather in large conformity to the greater ideals of the American Republic, in order that someday on American soil two world races may give each to each those characteristics both so sadly lack. We the darker ones come even now not altogether empty-handed: there are today no truer exponents of the pure human spirit of the Declaration of Independence than the American Negroes; there is not true American music but the wild sweet melodies of the Negro slave; the American fairy tales and folklore are Indian and African; and, all in all, we black men seem the sole oasis of simple faith and reverence in a dusty desert of dollars and smartness. Will American be poorer if she replace her brutal dyspeptic blundering with light-hearted but determined Negro humility? of her coarse and cruel wit with loving jovial good-humor? or her vulgar music with the soul of the Sorrow Songs?

Merely a concrete test of the underlying principles of the great republic is the Negro Problem, and the spiritual striving of the freedmen’s sons is the travail of souls whose burden is almost beyond the measure of their strength, but who bear it in the name of an historic race, in the name of this the land of their fathers’ fathers, and in the name of human opportunity.

Using a Theoretical Lens to Write Persuasively

Applying a theoretical lens to poetry, fiction, plays, or essays is a standard academic move, but theories are also frequently applied to real-world cases, hypothetical cases, and other non-fiction texts in disciplines such as Philosophy, Sociology, Education, Anthropology, History, or Political Science. Sometimes, the theoretical lens analysis is called a  reading , as in a “Kantian reading of an ethical dilemma,” or a “Marxist reading of an historical episode.” At other times, the application of a theory is known as an  approach , as in a “Platonic approach to the question of beauty.”

The basic writerly moves to using a theoretical lens include:

  • name and cite the theoretical text and accurately summarize this text’s argument. Usually this short summary appears in one or two paragraphs at the beginning of the essay. You will want to be sure your summary includes the key concepts you use in your paper to analyze the primary literary text.
  • use the surface/depth strategy to show how deeper meanings in the primary text can be explained by concepts from the theoretical text.  You might think about this as creating a “match argument” between the primary and theoretical text (or case under consideration). Take important points made in the theoretical argument and match them to particular events or descriptions in the primary text. For instance, you could argue Langston Hughes’s line  So will my page be colored as I write? (27) matches Du Bois’s argument that the veil prevents Whites from seeing Black’s individuality. Such a match argument can form an organizing structure for the essay as you develop whole paragraphs to support different points of connection between the theoretical and primary texts. You may be able to devote an entire paragraph to the claim that Du Bois’s concept of “the veil” can help us understand Hughes’s description of the challenges his speaker faces in asking his instructor to see him on his own terms.
  • support your surface/depth claims linking the primary and theoretical texts with textual evidence from the primary text . If you claim that a particular passage exemplifies a particular theory, you need to provide evidence in the form of quotations or paraphrases to support this interpretation. This evidence will most certainly need to be provided from the primary text you are analyzing but perhaps also occasionally from the theoretical text, too, especially if you connect the primary text to a small detail in the theoretical text or if the wording of the theoreticl text helps you explain something in the primary text. Use the patterns strategy to provide multiple examples from the primary text supporting your claims that it matches elements of the theoretical text.
  • reveal something complex and unexpected about the primary text. The goal of the theoretical lens strategy—like all strategies of literary analysis—should be to show that the text you are analyzing is complex and can be understood on multiple levels.
  • challenge, extend, or reevaluate the theoretical text (for more sophisticated analyses).  The most sophisticated uses of the theoretical lens strategy not only help you better understand the primary text but also help you better understand—and reveal complexities in—the theoretical text. When you first start applying this strategy, it may be sufficient to argue how the theoretical text helps you understand the primary text, but as you advance, you should attempt the second part of this strategy and use the primary text to extend or challenge the theoretical argument. Such arguments may serve as starting points for you to contribute to literary (or philosophical, or sociological, or historical) theory as a theorist yourself. These arguments are often made in the concluding paragraphs of analyses using the theoretical lens strategy.

Common Words and Phrases Associated with Theoretical Lens

A Sample Student Essay

Title: Double-consciousness in “Theme for English B”

Paragraph 1

The post-slavery history of African-Americans in the United States has been one of struggle for recognition. This struggle continued through the civil rights movement in the 1970s and ’80s. W.E.B. Du Bois, one of the most influential African-American leaders of the early twentieth century, described the complicated effects racism had on African-American selfhood. In his treatise  The Souls of Black Folk , Du Bois introduces the term “double-consciousness” to describe African-Americans’s struggle for self-recognition. Double-consciousness is the sense of “always looking at one’s self through the eyes of others” (8). It means that an African-American “[e]ver feels his two-ness—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body” (8). According to Du Bois, double-consciousness means that African-Americas are always judging themselves through a veil of racism, experiencing how others judge and define them rather than how they might define and express themselves.

Paragraph 2

Langston Hughes’s poem “Theme for English B,” written nearly fifty years after Du Bois’s essay, depicts one African-American’s continued struggle with double-consciousness. However, where Du Bois sees double-consciousness as a painful condition he hopes will one day disappear, Hughes seems to have a more positive view, suggesting that mainstream Americans should also have an opportunity to experience this condition. Instead of eradicating double-consciousness, Hughes seeks to universalize it. His poem suggests that true equality will be possible when all cultures are able to experience and appreciate double-consciousness.

Paragraph 3

We see the poem’s speaker struggling with double-consciousness when he expresses difficulty articulating what is “true” for himself. Hughes writes:

It’s not easy to know what is true for you and me

I feel and see and hear. Harlem, I hear you:

(I hear New York, too.) Me—who? (16-20)

In this passage, which concludes with a question about who he is, the speaker expresses a divided self. At first, he seems to identify with Harlem, an African-American neighborhood in New York, where he is currently sitting and writing. However, this identification becomes troubled by his acknowledgment that Harlem does not completely define him. When the speaker writes “hear you, hear me—we two” (19), he suggests that “you” (referring to Harlem) and “me” (referring to himself) are intimately related by not identical. They are two voices that, while both present in his poem, still “talk” (19) to one another. The fact that these voices converse, rather than speak as one, indicates they are not completely merged.

Paragraph 4

This sense of a divided self is further reinforced by the claim “(I hear New York, too.)” (20). This aside is interesting because it establishes Harlem as both separate from and connected to the larger city. This division reflects what Du Bois calls the “two-ness [of being] an Amercan [and] a Negro” (8). By placing New York in parentheses, the speaker may be suggesting that the American part of himself represented by New York plays a weaker role in his identity than the African-American self represented by Harlem. Like Du Bois, the speaker in “Theme for English B” experiences inner conflict when he tries to reconcile the different parts of himself.

Paragraph 5

We further see evidence of the speaker’s conflict when he writes that he likes “Bessie, bop, or Bach” (24). “Bessie” refrs to the popular blues singer Bessie Smith, an African-American woman who sang a very African-American style of music. At the other end of the spectrum is “Bach,” which refers to the classical European composer J.S. Bach and represents a traditionally White form of music. In the middle is “bop,” which refers to “bebop,” a form of jazz made popular in the 1940s that inspired a particular form of dance most practiced by White teenagers at the time. In saying that he likes all of these forms of music, the speaker indicates that he is a mix of both African and European identities—like Du Bois, he feels both traditional White and traditional African-American culture calling him.

Paragraph 6

The “page” that the poem’s speak has been asked to write likewise reflects the two-ness of being African-American. An essay can be thought of as black ink on white paper, which in the context of the poem represents Black identity articulated against a White background. The speaker refers to this conflict of identities when he writes, “So will my page be colored that I write? / Being me, it will not be white” (27-28). These lines suggest that the speaker is worried that his instructor will only see him as a representative Black student. It shows how the speaker is caught in a double bind: when the teacher asks the class to write something “true” (5), he will expect this particular student (who in the first stanza tells us he is the only Black student in the class) to write in a way consistent with his obvious Black heritage. But the student is aware that his White teacher doesn’t really know what it means to be Black. Thus, if he writes in a way that fulfills his instructor’s expectations, he will write a page that seems to a White teacher to be an authentic depiction of what it means to be Black—in other words, a White representation of Blackness. This dilemma illuminates what Du Bois refers to as “always looking at one’s self thorugh the eyes of others” (8). Because the speaker in the poem is so aware of what his instructor (and possibly the other students in the class) already thinks of him, he is having difficulty articulating just who he really is.

Paragraph 7

At the end of the poem, however, instead of calling for the eradication of double-consciousness as Du Bois does when he longs for the day that African-Americans will be able to “merge his double-self into a better and truer self” (9), Hughes seems to suggest that instead his instructor needs to feel the double-identity that he feels so strongly. Thus, he writes “You are white— / yet a part of me, as I am a part of you” (31-32) and “As I learn from you, / I guess you learn from me—” (36-37). These lines indicate that the White instructor needs to accept, African-American identity as part of his own culture, just as the speaker has needed to see both parts of his identity calling him. This ability to feel and be multiple perspectives, cultures, and backgrounds at once is labeled “American” in the second stanza. Hughes seems to be suggesting that even though the”two-ness” he feels is often difficult and painful, it needs to be seen as central to American—and not just African-American—identity. When he states at the end of the poem, “I guess you learn from me” (38), he is turning the tables on the teacher, and on Whites in general, by suggesting that they have as much to learn from exploring Black culture as Blacks have to learn by studying classic White culture.

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Water for Peace: official celebration of World Water Day 2024

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Under the theme “Water for Peace”, this campaign, led jointly by UNESCO and UNECE on behalf of UN-Water , showcases water's pivotal role in fostering peace, prosperity, and conflict prevention. 

Join us at UNESCO Headquarters for the official World Water Day 2024 celebration. This pivotal event promises a rich one-day programme filled with insights from distinguished speakers, including heads of UN agencies and high-level officials, alongside technical presentations that draw on field experiences. The day will also be enlivened by artistic and cultural activities that echo the theme. A highlight of the celebration will be the unveiling of the United Nations World Water Development Report 2024. 

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The UN World Water Development Report (WWDR) is published by UNESCO, on behalf of UN-Water and its production is coordinated by the UNESCO World Water Assessment Programme. Since its first edition in 2003, the series provide policy and decision-makers with factual evidence and tools to stimulate ideas and actions. This comprehensive report, funded by the Italian Government, also provides an authoritative overview of global water trends, challenges, and solutions. The 2024 Report, entitled "Water for Prosperity and Peace", underlines the interlinked complex relationships between water, prosperity and peace, describing how progress in one dimension can have positive repercussions on the others. 

Ensure your participation in the dialogue on sustainable water management and peace by exploring the findings and recommendations of the UN WWDR 2024. 

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Guest Essay

‘If You See a Fox and I’ve Died, It Will Be Me’

An illustration shows a woman with dark hair and in a blue coat looking between two trees at a fox.

By Sarah Wildman

Ms. Wildman is a staff writer and editor in Opinion.

A block from my house at the edge of Washington, there is a winding park with a road running through it. One Sunday recently, walking my regular loop along the trail, I heard leaves rustling on the wooded hill above me. I often see deer here; this time it was a bright young fox.

She paused. We stood there for a moment, she and I, aware. I wanted desperately for her to come closer, to stay in her orbit a moment longer. I lingered long after she left.

Sometime in my daughter Orli’s last months of life, she told me, lightly, “If you see a fox and I’ve died, it will be me.” I had never seen a fox in my neighborhood. Over the past several months, I have seen maybe a half dozen, here and elsewhere. Each time, I try to quell my desire to shout out, to ask the animal to stay, to call it by her name. It feels crazy; it feels sane.

I had never believed in signs. Now I notice when an interview runs exactly 1 hour and 13 minutes or when the hour is exactly 1:13. Orli was born on Jan. 13. It means nothing; it means something. A double rainbow stretched over a farm in Maine represents more than beauty.

March 17 will be one year since Orli died in our house, in her room, in my arms; March 20 a year since her burial. (In a quirk of this year’s Jewish calendar, the date of her yahrzeit, or memorial date, is some weeks farther on.)

A year is a strange and terrible marker of time, simultaneously endless and instant. A year of loss is a new form of permanence: This is the life we lead. It will not change. A year furthers us on the long march toward our altered future. In the life of a child, a year is transformative. Her peers have molted in the year from 14 to 15. They no longer attend the same school; they have begun new sports, met new friends, moved forward, moved on.

There is an immutability to a year of grief, a sense of solidity to the loss, a movement from the surreality of her absence into a hardened space. It’s not as though I believe she might return, but in the year between her death and now, I remain connected to her presence. My partner, Ian, has spent part of this year adding tattoos to his arms, each an ode to Orli, permanent signifiers of permanent loss. My younger daughter, Hana, has written through her grief; she notes, often, the lack of insight her peers have into the depth of losing a sister. Meanwhile, I wonder if I should keep every item of clothing I can picture Orli in, I wonder what she would say about each movie I see, each book I read. I yearn for her commentary.

On Orli’s birthday, one of her long-distance friends wrote to me, “Whether you consent or not, I bring Orli along in every escapade,” in good decisions, in hidden poor ones. She understood the essence of being human is to be mischievous, of both choosing well and of making bad decisions. I never craved a perfect child, just a living one.

The day before our first birthday without Orli, Hana, Ian and I — walking from separate directions — came upon a fox idling on a street corner, as though waiting for us.

Most of this year I have worked to center memories of Orli’s better moments, the joy she infused in each minute she got to live. One month after her first brain tumor surgery, when she’d rebounded better than any of us could have hoped, we met old friends from Spain for dinner. As we ate, a sudden, drenching storm came up. Orli got up and ran into the warm rain with our friends’ children, dancing, thrilled. It was, she told me, a “bucket list moment.”

She seemed to realize, far earlier than I, she had to lean into each experience, to expand it, to let it fuel her for whatever came next. In her journal she worried she might not see ninth grade. She did not share that with her friends.

Each of us in our rump family has felt an almost visceral physicality of these past few weeks — the slide from her birthday toward this anniversary, the terrible knowledge that we each hold of the last moments of her life, the good minutes we had, the harder hours, the terror of those final days.

In her last week, one doctor cornered me at the hospital to tell me Orli shouldn’t be here anymore. It was not clear if he meant “here, still receiving palliative treatment,” or “here, on earth.” She was fading, I knew. But it felt an awful thing to say — unforgivable, really. I thought of Abraham arguing with God to save the wicked towns . I wanted to ask: But what if I get 15 good minutes with her each hour? Or five? Orli was adamant she did not want to die.

In Judaism a child who is an avel, or mourner, is to stop saying Mourner’s Kaddish for her parent at 11 months as she re-emerges into the community. But because parents who have lost a child have no obligation beyond the first 30 days, this marker holds no meaning. And because those who have lost children are, in many ways, forever seen as mourners, forever noted for their loss, we remain on the margin — in the community but not entirely of it. Once, early in Orli’s illness, on the same path where I saw the fox, I overheard a woman, just slightly still within my earshot, who passed me. “That’s Sarah Wildman, the woman whose daughter …”

I tend to walk alone on this path. Grief of this kind is simultaneously universal and unshareable; loneliness is its inherent point of reference. I cannot conceive that March 18 will be drastically different from March 17.

When 2023 turned to 2024, I thought: It is a terrible thing to buy a calendar for a year Orli will not see. Still, I put up a calendar in her old room, the same feminist calendar she chose each year. As February turned to March, I found the page hard to flip over. Until this point, I have been able to look at the photos in my phone and say: This time last year, we were at this concert, we were at this movie, we had this meal. Now those memories slide farther back. These days Ian often sits in her room, working. He likes to be near her, and so, most nights, in homage to her, I straighten up after him — he is a mess, she craved order. I do it for her, I do it for me.

In early September, not quite six months after Orli died, I interviewed the actor Rob Delaney, who wrote a bracing, visceral book about his young son Henry’s life and death from brain cancer. “You probably at this point regularly — what, every day? — are shocked by the fact that she’s gone. Right?” Mr. Delaney asked me halfway through our call. “For better or for worse — I guess for the survival of the species, it’s for the better — but the acute physical pain will not go away. But it’ll weave itself into your life in a way where threads of Orli will be in the tapestry of your life forever,” he said.

“And in a few years, you’re going to wrap yourself in the tapestry of your life and marvel at the beauty of the threads of Hana and Orli and Ian, and it’ll all be — you will metabolize her life and her death, in a way where you feel a thousand things.” One of those things will always be “disbelief and pain,” he said. “That won’t go away.”

In the first days of March, Hana and I went to speak at Orli’s old school at a Women’s History Month assembly held in her honor. Orli had an “intuitive sense of justice, about doing what’s right in the world, about showing up for her friends and herself,” I told sixth, seventh and eighth graders, aware some of them would have known Orli only as that girl who died.

It was Hana who spoke best. “Orli was like an emotion,” she told the assembled children, all older than she. “I think I will never get over her. It might get less hard, but I will never not be sad.”

It wasn’t until that night, in bed, that I wept. The teachers still knew her as she was, I realized. I craved their memories.

“How are you?” each of them asked, as people often do. “Aquí estoy,” I said, as I have come to say. I’m here.

Sarah Wildman is a staff editor and writer in Opinion. She is the author of “Paper Love: Searching for the Girl My Grandfather Left Behind.”

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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  • One-year efficacy of myopia control by the defocus distributed multipoint lens: a multicentric randomised controlled trial
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  • Xiaoqin Chen 1 , 2 , 3 ,
  • Mengdi Li 3 ,
  • Jun Li 1 , 3 ,
  • Xiaonan Liu 5 ,
  • Xingyi Guo 3 ,
  • Yanbo Wang 6 ,
  • Yansong Wang 7 ,
  • Wenli Lu 6 ,
  • Lihua Li 2 , 3 ,
  • http://orcid.org/0000-0002-1257-6635 Yan Wang 1 , 2
  • 1 Clinical College of Ophthalmology , Tianjin Medical University , Tianjin , China
  • 2 Tianjin Eye Hospital , Tianjin Key Lab of Ophthalmology and Visual Science, Tianjin Eye Institute, Nankai University affiliated Eye Institute , Tianjin , China
  • 3 Tianjin Eye Hospital Optometric Center , Tianjin , China
  • 4 Tongren Eye Care Center, Beijing Tongren Hospital , Capital Medical University , Beijing , China
  • 5 He Eye Specialist Hospital , Shenyang , China
  • 6 Department of Epidemiology and Health Statistics, School of Public Health , Tianjin Medical University , Tianjin , China
  • 7 Donghua University , Shanghai , China
  • Correspondence to Professor Yan Wang, Tianjin Eye Hospital, Tianjin Key Lab of Ophthalmology and Visual Science, Tianjin Eye Institue, Nankai University affiliated Eye Institute, Clinical College of Ophthalmology, Tianjin Medical University, Tianjin, China, Tianjin, China; wangyan7143{at}vip.sina.com ; Professor Lihua Li; lilihua5081{at}vip.sina.com

Aims To report the 1-year results of the efficacy of a defocus distributed multipoint (DDM) lens in controlling myopia progression in a multicentre, randomised controlled trial.

Methods Overall, 168 children aged 6–13 years were recruited and randomly assigned to wear a DDM lens (n=84) or single-vision (SV) lens (n=84) in three centres. Cycloplegic autorefraction (spherical equivalent refraction (SER)) and axial length (AL) were measured. Linear mixed model analysis was performed to compare between-group SER and AL changes. Logistic regression analysis was used to analyse the between-group difference in rapid myopia progression (SER increase≥0.75 D per year or AL growth≥0.40 mm per year).

Results After 1 year, mean changes in SER were significantly lower in the DDM group (−0.47±0.37 D) than in the SV group (−0.71±0.42 D) (p<0.001). Similarly, mean changes in AL were significantly lower in the DDM group (0.21±0.17 mm) than in the SV group (0.34±0.16 mm) (p<0.001). After adjusting for age, sex, daily wearing time and parental myopia, rapid myopia progression risk was higher in the SV group than in the DDM group (OR=3.51, 95% CI: 1.77 to 6.99), especially for children who wore a lens for >12 hours per day, boys and younger children (6–9 years) with ORs (95% CIs) of 10.82 (3.22 to 36.37), 5.34 (1.93 to 14.78) and 8.73 (2.6 to 29.33), respectively.

Conclusions After 1 year, DDM lenses effectively retarded myopia progression in children. Longer daily wearing time of DDM lens improved the efficacy of myopia control. Future long-term studies are needed for validation.

Trial registration number NCT05340699 .

  • Clinical Trial
  • Epidemiology
  • Public health
  • Prospective Studies
  • Optics and Refraction

Data availability statement

Data are available upon reasonable request.

https://doi.org/10.1136/bjo-2023-324243

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WHAT IS ALREADY KNOWN ON THIS TOPIC

Animal experiments demonstrate that peripheral myopic defocus (MD) is a protective factor in delaying myopia. Spectacles based on peripheral defocus design have effectively slowed down myopia progression.

WHAT THIS STUDY ADDS

This study is a multicentre clinical trial of a new designed lens (defocus distributed multipoint, DDM) based on the peripheral MD, which demonstrates its efficacy.

HOW THIS STUDY MIGHT AFFECT RESEARCH, PRACTICE OR POLICY

This study proposed a new design spectacle for slowing myopia and found that younger children and boys benefited more from the DDM lens. Longer daily wearing time improved its efficacy in myopia control.

Introduction

The prevalence of myopia and high myopia is increasing globally 1 2 and is more serious in East Asia, especially China. 3 4 Myopia is closely associated with complications, 5 6 which not only endanger one’s visual function but also cause an inestimable potential economic burden globally. 7 Therefore, clinical measures to slow the progression of myopia are crucial.

Animal models suggest that the peripheral defocus could modify the growth and refractive state of the eye. 8–10 Myopic defocus (MD) refers to the focal plane in front of the retina, which could inhibit eye growth. 11 Orthokeratology and multifocal soft lenses are representative methods based on MD mechanism for myopia control, reported to slow myopia progression by 34%–60%. 12–14 Intended to form MD in retina, the design of the spectacle lens has been continuously optimised. It was reported that the lens designed to reduce peripheral hyperopic defocus retarded myopia progression by 27% (MyoVision, Carl Zeiss, Germany) in participants with genetic background. 15 However, there was no significant myopia control effect in the Japanese 2-year study. 16 In 2019, a honeycomb microlens design (defocus-incorporated multiple segments (DIMS)) lens based on the defocus theory effectively delayed myopia progression. 17 Its myopia control effect was close to that of orthokeratology and atropine. 12 14 18–20 DIMS was a milestone in the design of spectacle lenses. Subsequently, in 2021, aspherical microlenses with a power gradient were shown to be effective in delaying myopia progression. 21 There were no adverse events associated with the MD designed lenses. 21 22

However, only a few studies have shown the efficacy and safety of microlens-designed spectacle lenses in slowing myopia progression. 17 21 22 Thus, more studies on the efficacy of different designed lens for myopia control are needed, which may help to provide an effective recommendation for the optimal design of spectacle lenses.

The defocus distributed multipoint (DDM) spectacle lenses are new microlens-designed spectacle lenses which comprise a hexagonal optical central zone (side length is 5.77 mm) for distance correction and multiple focal zones with gradiently increasing refractive power of aspheric microlens for generating a myopia control signal ( figure 1 ). Thus, this study aimed to report the results of the efficacy of a DDM lens in controlling myopia progression in a 1-year, multicentre, randomised controlled trial.

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The design of the defocus distributed multipoint spectacle lens. The side length of hexagonal central zone is 5.77 mm (H0). The hexagonal multiple focal zone was divided into three subzones, inner, middle and outer zones. The outer side lengths of inner, middle and outer zones were 10.10 mm (H1), 14.86 mm (H2) and 19.63 mm (H3), respectively. The length of diagonal of a hexagonal multiple focal zone was 39.2 mm (H4).

Materials and methods

Study design.

This prospective multicentric randomised controlled study was conducted simultaneously in three centres: Tianjin Eye Hospital (TEH), Tianjin; Beijing Tongren Hospital (BTH), Beijing; and He Eye Specialist Hospital (HESH), Shenyang. Study started in December 2020 and ended at the end of November 2023 after completing 2 years of patients follow-up. The participants were randomly allocated to wear either DDM spectacle lenses (experimental group) or single-vision (SV) spectacle lenses (control group) and follow-up visits were scheduled every 6 months. All centres enrolled participants following the competitive enrolment principle. This report presents data after 1 year of follow-up because data for two years is under verification and supervision to provide the 1-year efficacy of DDM spectacle lenses in myopia control.

Study population

168 children were recruited. The inclusion criteria were participants (and their parents) who accepted allocation to either the DDM or SV group and were available for regular follow-up, aged 6–13 years, with spherical equivalent refraction (SER) ranging between −1.00 and −5.00 D, astigmatism of ≤1.50 D and with anisometropia of ≤1.50 D. The exclusion criteria were participants with strabismus (positive result of cover test at far (4 m) or near (40 cm) when wearing correction), ocular and systemic abnormalities, best-corrected visual acuity (BCVA) of >0.0 logMAR in both eyes and prior experience of myopia control.

Sample size calculation

PASS (V.11.0) was used to calculate the sample size. 23 The mean expected difference in myopia development between the two groups was set as 0.50 D, and the SD of the expected difference was set as 0.70 or 0.75 D. 24 25 The values of parameters such as α, β and ρ were calculated to compare the mean difference between the two samples, namely, α=0.05, power (1−β)=0.90 and ρ=0.02 (considering the analysis requirements of secondary indicators comprehensively). The expected number was 132 participants, but the expected sample size was 165 participants based on an estimated loss rate of 20%.

Intervention

DDM lenses (Shanghai Weixing Optical Co., Shanghai, China) were used in the experimental group, and SV lens with the same refractive index and film layer was used in the control group.

The DDM lens comprised a hexagonal optical central zone and a hexagonal multiple focal zones with aspheric microlens with relative positive power. The optical central zone with 5.77 mm side length was used to correct the foveal refractive error to provide clear vision for the wearer at all viewing distances, and the hexagonal multiple focal zones were assumed to generate the MD signal on the retina. The diameter of each microlens was 1.00 mm, and the centre distance of each adjacent microlens was 1.59 mm. The multiple focal zones were divided into three subzones. The refractive power of each microlens was +3.00, +3.50 and +4.50 D in the inner, middle and outer zones, respectively ( figure 1 ).

Randomisation and blinding

Eligible participants were assigned to receive spectacles with DDM or SV lens in a 1:1 ratio using adaptive randomisation software (SAS V.9.2, SAS Institute).

The children and their parents were blinded because the spectacle lenses were not labelled to identify the assigned treatment group. Objective refraction and axial length (AL) were examined by masked examiners. The masking procedures fulfilled the requirements of the Consolidated Standards of Reporting Trials. 26

The prescription for the lens was changed when the visual acuity (VA) with the current spectacles either decreased to <0.1 logMAR or SER of cycloplegic subjective refraction increased to ≤−0.50 D.

Measurements

Refraction and al.

Objective refraction was measured using an autorefractor (Topcon KR-8900, Topcon, Tokyo, Japan) 60 min after applying three drops of 1% cyclopentolate administered 10 min apart. SER was calculated as follows:

AL was measured using an optical biometer (AL-Scan, Nidek Co., Gamagori, Japan).

The time of ocular measurement was uniform throughout the study (09:00–12:00). Five measurements of refraction and AL were taken from each eye at baseline and every 6 months thereafter, and the average values were used in the analysis. The primary outcomes were changes in SER and AL.

Visual performance

BCVAs were measured at far and near distances. Ocular motor parameters, including near phoria (Von Graefe method), negative/positive relative accommodation (NRA/PRA), accommodative responses and the accommodative convergence/accommodation ratio (AC/A) were measured with BCVA using a phoropter (IS-600, Topcon) at baseline and every 6 months thereafter.

Questionnaires were administered to participants at each visit to monitor compliance and the visual impact of the study spectacles, including clarity at different distances (far, intermediate and near), vision stability when moving, halo at night and comfort. 27 The responses were scored on a scale of 1–10 for each item (poorest to excellent). For vision clarity, 10 points indicated clear all the time and 1 indicated blurred all the time. For halo at night, 10 points implied normal all the time and 1 implied halos all the time.

All children were informed that they might experience some discomfort after wearing the lens and that it would take time to adjust. If they still could not adapt, they were advised to visit the clinic. Phone interviews were conducted 1 week after lens dispensing to ensure adherence and record adaptation outcomes. Children were asked when they adapted to the lenses: immediately, within 2–3 hours, within 1 day, within 1 week or not yet. Adaptation was defined as wearing the study device with no discomfort, problems or decrease in VA. 21

We recorded daily wearing time of spectacles. The children were requested to complete a questionnaire at the 1-year follow-up visit with categorical indicators as follows: (a) <3 hours per day; (b) 3–6 hours per day; (c) 7–10 hours per day; (d) 10–12 hours per day; and (e) >12 hours per day.

Adverse events

Any unforeseen medical event that occurred was monitored throughout the study.

Statistical analysis

Statistical analyses were conducted using SAS V.9.2 (SAS Institute). Data from participants who completed 1-year follow-up were analysed. The average values of ocular parameters measured for both eyes were analysed. 28 Efficacy of the DDM lens (%) in controlling myopia was determined by dividing the difference in SER increase (or AL growth) between the groups by the SER increase (or AL growth) in the SV group and then multiplying the quotient by 100%. 16 Rapid myopia progression was defined as increases in SER of ≥0.75 D per year or AL elongation of ≥0.40 mm per year. 29

Unpaired t-tests were used to compare normally distributed data between the groups. Otherwise, the Mann-Whitney U test for continuous data and χ 2 test for categorical data were used. Linear mixed model analysis was performed to evaluate the treatment effect, adjusted for baseline age, sex and the number of parents with myopia. Logistic regression analysis was used to analyse between-group differences in the effects of SER and AL. A Spearman correlation test was performed to analyse the correlation between daily wearing time and the change in SER as well as AL at 1 year. P values less than 0.05 were considered statistically significant.

Participants

Overall, 168 participants were included ( online supplemental figure S1 ); 78 (46.4%) were included at TEH, which was slightly more than that at the other two centres (HESH, 42 participants; BTH, 48 participants).

Supplemental material

Overall, 148 participants (88.1%) completed the 1-year follow-up visit. 20 participants discontinued from the study during the first year (DDM group: n=3; SV group: n=17). The reasons were as follows: chose other myopia control methods (n=8), missed timely follow-up due to the COVID-19 pandemic (n=4), refused cycloplegia (n=1) and lost contact (n=7). None of the participants dropped out of the trial because they could not adapt to the lenses.

Table 1 summarises the demographic and clinical data. There were no significant differences between the groups at baseline.

  • View inline

Baseline demographics of participants who completed the 12-month follow-up (x±SD)

Changes in SER

There was a significant difference in the mean changes in SER over 1 year between the DDM (−0.47±0.37 D) and SV groups (−0.71±0.42 D) (p<0.001) ( table 2 and figure 2 ). Compared with the SV group, the DDM group showed significantly delayed SER progression according to a mean difference of 0.24 D (34%) at 1 year. In the linear mixed model analysis, baseline age (p<0.001) was significantly associated with SER progression ( online supplemental table S1 ). No statistically significant differences in SER changes were found between the subcentres (p=0.168).

Mean changes in SER and AL in each treatment group (x±SD)

Changes of SER and AL from baseline in each treatment group over a 1-year period. Error bars represent the SEM of the mean. *Significant difference (p<0.05). AL, axial length; DDM, defocus distributed multipoint lens; SER, spherical equivalent refraction; SV, single-vision lens.

Changes in AL

Significant differences were found in the increase of AL growth in the DDM (0.21±0.17 mm) group and the SV (0.34±0.16 mm) group over 1 year ( figure 2 ). Compared with the SV group, the DDM lenses significantly delayed AL growth by 38% (mean difference 0.13 mm, p<0.001) ( table 2 ). In the linear mixed model analysis, no covariates were significantly associated with AL growth ( online supplemental table S2 ). No statistically significant differences in AL changes were found between the subcentres (p=0.424).

Rapid myopia progression

The proportions of participants with rapid myopia progression were 56.7% (38/67) in the SV group and 27.2% (22/81) in the DDM group, with a significant difference (χ 2 =13.289, p<0.001). The risk of rapid myopia progression was higher in the SV group than in the DDM group (OR=3.51, 95% CI: 1.77 to 6.99, p<0.001) ( table 3 ). Stratified analysis of sex, age, daily wearing time and parental myopia showed that the risk of rapid myopia progression was significantly higher in the SV group than in the DDM group. Boys wearing SV lenses had higher risk of rapid myopia progression than those wearing DDM lenses (OR=5.34, 95% CI: 1.93 to 14.78). Younger children (6–9 years) wearing SV lenses had higher risk of rapid myopia progression than those wearing DDM lenses (OR=8.73, 95% CI: 2.60 to 29.33). Children who wore SV lenses for >12 hours per day had higher risk of rapid myopia progression than those who wore DDM lenses (OR=10.82, 95% CI=3.22 to 36.37). Furthermore, children with no or only one myopic parent had higher risk of rapid progressive myopia when wearing SV lenses than when wearing DDM lenses (OR=3.58, 95% CI: 1.34 to 9.52; OR=4.58, 95% CI: 1.28 to 16.36).

Myopia progression after 12 months of follow-up (number (%))

Myopia progression with different daily wearing times

After 1 year of follow-up, children in the DDM group who wore lenses for <12 hours per day showed a greater increase in SER and AL growth than those who wore lenses for >12 hours per day (p<0.001). However, there were no significant differences in SER and AL in the SV group for the two different daily wearing times (p=0.132 and p=0.323, respectively) ( online supplemental table S3 ).

Daily wearing time was positively correlated with SER increase and negatively correlated with AL growth in the DDM group (r=0.508, p<0.001; r=−0.639, p<0.001, respectively). However, there was no significant correlation between daily wearing time and SER increase or AL growth in the SV group (r=0.048, p=0.697; r=−0.019, p=0.882, respectively).

The percentages of participants who could adapt to the lens within 1 day were 91.8% and 93.6% in the DDM and SV groups (χ 2 =0.183, p=0.669), respectively. At the 1-week visit, 95.9% and 96.1% of the participants in the DDM and SV groups, respectively, could adapt to the lens with no significant difference between the groups (χ 2 =0.007, p=0.934) ( online supplemental figure S2 ).

When the children were first dispensed the lens, the mean scores of each item for the DDM group were slightly lower than those for the SV group, and all the items improved after 1 week, although the difference was not statistically significant (p>0.05), as shown in online supplemental table S4 . For comfort analysis, the mean value of initial evaluation of comfort was 8.35±1.67 (77.8% with score higher of 7 over 10) in the DDM group and 8.87±1.37 (88.06% with score higher of 7 over 10) in the SV group, and after 1 week of wearing the lenses, more than 95% of the children in both groups were able to experience a better level of comfort.

There were no significant differences between the groups in influencing VA between baseline and 12 months (p>0.05). In online supplemental table S5 , the differences over time were found in PRA, AC/A and NRA. However, the differences in interactions between time and groups were not statistically significant (p>0.05).

No adverse events occurred during the 1-year follow-up at all three centres.

This is the first multicentre study to report the 1-year efficacy of new-designed DDM lens in slowing myopia progression. The DDM lens significantly reduced the risk of rapid myopia progression compared with the SV lens, especially for younger (6–9 years) children and boys. Additionally, longer daily wearing times improved its efficacy in myopia control.

The DDM lens reduced myopia progression by 34%, 0.24 D per year lesser than the SV lens, and slowed AL elongation by 38%, 0.13 mm per year lesser than the SV lens. For the 1-year results, the myopia control efficacy of DDM was similar to that of defocus contact lens (0.20–0.30 D) and 0.01% atropine (0.22 D, 28%). 30 However, DDM lenses were slightly less effective in controlling myopia than DIMS (0.38 D, 69%) and highly aspherical lenslets (HAL) (0.53 D, 67%) lenses. 17 21 In terms of reducing AL elongation, the efficacy of DDM was similar to those of orthokeratology (0.15 mm (0.22–0.08)) and slightly aspherical lenslets (SAL) (0.11 mm, 31%). 19 21 However, DDM lenses were slightly less effective in slowing AL elongation than DIMS (0.21 mm, 66%), 0.05% atropine (0.21 mm, 51%) and repeated low-level red-light therapy (0.26 mm, 74.7%). 30 31 The reason for the slightly lower myopia control in DDM lenses may be related to age. The age of the children included in this study was 6–13 years, which may be slightly younger than the age range in most studies (8–13 years). The design of the lens may also affect myopia control. The refractive power of microlens was +3.50 D in DIMS, but +3.00 D in the inner zone of DDM. We suggest that the closer the microlens distribution pattern to the clear centre zone and the refractive power will affect the myopic control effect, which will require a subsequent comparative study. Third, the efficacy of myopia control may also be linked to the COVID-19; it was difficult to assess and rule out the impact of COVID-19 on myopia progression. 32 However, all participants experienced a similar study mode.

Daily wearing time is a vital factor in myopia control; the effect of DDM lenses on slowing myopia progression increased in children who wore lenses for >12 hours per day in this study, with a 54% reduction in SER and a 64% reduction in AL. These results were similar to those of a previous study of DIMS and HAL, in which the lens-wearing times were 15.5 and 13.4 hours, respectively. 17 21 When a similar myopia control effect (reduction of myopia progression by 50%–60%) was achieved, the wearing time needed for the defocused microlens-designed spectacle lens was 12 hours and the time for the defocused soft lens was at least 6 hours. 24 Different lens-wearing times are required for different correction methods, which may be related to the accumulation of MD signals in the peripheral retina. However, studies on the optimal duration of retinal exposure to myopic defocusing signals are lacking. To obtain high effectiveness, at least 12 hours of wearing time for defocused microlens-designed spectacle lenses is recommended in clinical practice.

Further analysis of the factors in participants with rapid myopia progression during the 1-year follow-up is warranted, as the percentage of participants in the DDM group (32.1%) was significantly lower than that in the SV group (56.7%). Previous studies have shown that a younger age was associated with faster myopia progression in the SVL group and faster AL elongation in the SVL, SAL and DIMS groups. 17 21 In the present study, a stratified comparison of risk assessment for participants with or without rapid myopia progression was performed, and the benefit of wearing DDM lenses was greater in the younger age group (6–9 years old) compared with that in the SV group. Therefore, we suggest that the earlier the DDM lenses are worn in the early stages of myopia onset, the greater the potential benefit of delaying myopia progression.

Safety of the refractive correction method is always the first consideration for children. Here, no adverse events correlated with spectacle lenses occurred within 1 year. This study and previous reports on the safety of spectacles related to myopia control did not identify any safety issues related to the lenses. However, orthokeratology (42/10 000 corneal infiltration events) as well as multifocal defocus soft lenses (0.66% of adverse events) can cause some cornea-related complications, and atropine can cause problems such as pupil dilation and decreased adjustment. 18 33 Moreover, most children (more than 90%) could adapt to spectacle lenses within 1 day. Compared with the current methods of myopia control, 12 14 18 20 34 the DDM lens is a safe and effective method for myopia control. There were no differences in ocular motility parameters between the two groups. However, there were changes in some parameters (PRA, AC/A, NRA) with increasing time, which suggested that these parameters were not related to the type of correction used, but rather to whether or not it was corrected.

Focusing on the long-term myopic effects of lenses to prevent and control complications of high myopia is also a clinical issue worth considering. Based on this study population, we assume a child has −2.50 D myopia (the closer to mean age of study) at age 10 and develops to age 18 years old, 8 years of DDM lenses wear could help to save 1.92 D of myopia (8 years×0.24 D per year, although this effect may not be linear); this could mean that one child wearing SV will achieve an SER of −8.18 D but this refraction will be −6.26 D if wearing DDM lenses. In both cases, high myopia (more than −6.00 D) is and could be related with myopia comorbidity issues in adulthood. Thus, myopia control actions should be recommended as early as possible to reduce or minimise myopia progression and its magnitude in adulthood. However, to improve the efficacy of myopia control, the combination of DDM with atropine should also be further considered for study.

This study has several limitations. First, the proportion of participants who wore lenses for a long time (>12 hours per day) was small, although the participants and their parents were reminded to use the lenses during the entire study. Moreover, the lens-wearing time was obtained from a subjective questionnaire with recall bias. In the future, more objective assessment tools are needed to determine actual wearing hours. Second, the research period of this study was still short. The 2-year efficacy of special lenses has been indicated to be lower than that in 1-year results of myopic children in similar previous studies (decrease in efficacy of close to 10%). 17 So results of the myopia progression retardation found in this study must be interpreted with caution until long-term follow-up reports will describe the efficacy of DDM spectacle lenses in myopia progression. Third, we did not consider clinical factors related with myopia in the randomisation process, and because of non-differences between both groups in sex, age and number of parents with myopia, these gaps in randomisation could have a limited impact in results. Fourth, the objective refraction was performed using Topcon KR-8900, which was not an open-field autorefractor, although this has little effect after cycloplegia. 35 Finally, the low contrast VA and the peripheral refraction were not measured and monitored over the study period, and it may be one of the parameters for further investigation in future.

In conclusion, this first multicentric study showed that the DDM lens is a safe and effective method for myopia control and reduced the risk of rapid myopia progression after 1 year of follow-up. More than 12 hours per day of lens-wearing may contribute to a better effect of myopia control. Moreover, boys and younger children benefited more from DDM. Nevertheless, further studies with longer follow-up periods are required.

Ethics statements

Patient consent for publication.

Consent obtained from parent(s)/guardian(s).

Ethics approval

This study involves human participants and was approved by ethics committee of Tianjin Eye Hospital (KY202003) and adhered to the tenets of the Declaration of Helsinki. Participants gave informed consent to participate in the study before taking part.

Acknowledgments

The authors would like to thank Editage https://www.editage.cn for English language editing.

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Supplementary materials

Supplementary data.

This web only file has been produced by the BMJ Publishing Group from an electronic file supplied by the author(s) and has not been edited for content.

  • Data supplement 1
  • Data supplement 2
  • Data supplement 3

XC and ML are joint first authors.

Contributors Concept and design: XC, ML, XG, LL and YanW; data acquisition and research execution: JL, MW, XL and CY; analysis and interpretation: YanboW, YansongW and WL; manuscript preparation and final approval: XC, ML, XG and YanW; and guarantor: LL and YanW.

Funding This study was funded by the National Natural Science Foundation of China (82271118) and Tianjin Key Medical Discipline (Specialty) Construction Project (TJYXZDXK-016A).

Competing interests None declared.

Provenance and peer review Not commissioned; externally peer reviewed.

Supplemental material This content has been supplied by the author(s). It has not been vetted by BMJ Publishing Group Limited (BMJ) and may not have been peer-reviewed. Any opinions or recommendations discussed are solely those of the author(s) and are not endorsed by BMJ. BMJ disclaims all liability and responsibility arising from any reliance placed on the content. Where the content includes any translated material, BMJ does not warrant the accuracy and reliability of the translations (including but not limited to local regulations, clinical guidelines, terminology, drug names and drug dosages), and is not responsible for any error and/or omissions arising from translation and adaptation or otherwise.

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    You can see my lens essay thought-process in just these three sentences: (1) I read Venus in Furs (Text A) and noticed that the imagination is ambiguous. (2) I read Foucault (Text B, my lens) (3) to better understand the imagination in Venus in Furs. (4) Foucault helped explain why an ambiguous imagination is an appropriate way to look at ...

  10. Lens Analysis

    Lens analysis requires you to distill a concept, theory, method or claim from a text (i.e. the "lens") and then use it to interpret, analyze, or explore something else e.g. a first-hand experience, visual text, physical object or space, historical or current event or figure, a cultural phenomenon, an idea or even another text (i.e. the ...

  11. How to Write a Critical Lens Essay Like a Critic

    Critical lens essays aren't too difficult once you get the hang of them—it's just a different way of approaching an analysis. But no one gets it right the first (or even 51st) time. So if you're feeling less-than-great about your essay, let the Kibin editors take a look. They'll give you helpful suggestions that'll make your ...

  12. How To Write A Lens Essay

    A lens essay can be a challenging, but ultimately rewarding, assignment. By carefully selecting your texts and developing a well-supported argument, you can use the lens essay to reveal new insights into familiar works. Analyzing and Interpreting the Primary Text. A lens essay is a type of close reading that focuses on a single text or group of ...

  13. lens essay

    The lens essay is a commonly-assigned paper, particularly in Writing Seminars. The prompt for such a paper often asks students to "critique and refine" an argument, to use a source as a lens through which to view another source and in the process gain a better understanding of both sources. This type of essay can be hard to explain and ...

  14. PDF QC Writing Center Guide to Writing Critical Lens Essays

    Crafting a critical lens essay. 1) Understand the critical lens and what it is asking of you. Remember that a critical lens is a certain viewpoint that you should look through as you analyze your target text. 2) Analyze the piece of literature. The best thing is to reread it, if possible, with your critical lens in mind.

  15. What Is A Lens In Writing? (The Ultimate Guide)

    A lens in writing is a tool that shifts your perspective, like looking through a kaleidoscope. Writing lenses include historical, psychological, and critical. Use a writing lens to analyze, interpret, and craft richer, more engaging writing. Buckle up, language enthusiast, because this ultimate guide dives deep into the fascinating world of ...

  16. How to Write a Critical Lens Essay

    For your convenience, we have broken down the whole process of writing the critical lens essay into 10 easy-to-follow steps: Choose your topic. Work out a thesis. Conduct the necessary research. Write your body paragraphs. Come up with your introduction and conclusion. Design your cover page and reference list. Format your paper.

  17. Lens Essay Resources

    Lens Essay Handouts and Exercises. UWS Lens Essay Handout (DOCX | PDF) Using a Lens: Buss (and other theory) as a Way to Support Your Claims; Lens Exercise: Butler and Plath; Lens Game; UWS Exercise Book (pending) Sample Lens Essays "A Living Document with Dead Ideals" (Sam Ackerman | UWS 8b: The American Dream)

  18. How to Write a Critical Lens Essay

    In order to have a well-developed critical lens essay your body should consist of at least three paragraphs. It is precisely in the body of the essay where you state what you have researched so far and drafted. In that part of the essay you must convince the audience that your interpretation of the quote is logical, reasonable and acceptable.

  19. How to Write a Critical Lens Essay Successfully Step by Step

    Paragraph 1: First Literary Work. Brief Overview: Provide a concise summary of the first literary work. Connection to Critical Lens: Analyze how it applies to this text. Evidence: Incorporate relevant quotes or examples from the text to support your analysis. Interpretation: Discuss the deeper meanings revealed through the analysis.

  20. What Is a Critical Lens Essay?

    These types of essays are written for a variety of reasons. One reason is to sway the reader's point of view on a particular famous quote or to offer fresh insight into the meaning of the quote. In addition to that, the critical lens essay is assigned to assess the student's skills in reading, writing and critical thinking. They are used to ...

  21. Literary Analysis: Applying a Theoretical Lens

    Applying a theoretical lens to poetry, fiction, plays, or essays is a standard academic move, but theories are also frequently applied to real-world cases, hypothetical cases, and other non-fiction texts in disciplines such as Philosophy, Sociology, Education, Anthropology, History, or Political Science. Sometimes, the theoretical lens analysis ...

  22. Water for Peace: official celebration of World Water Day 2024

    In 2024, World Water Day aims to highlight the benefits of water management as a conduit for peace, showcasing effective mechanisms and tools to enhance cooperation and prevent water-related disputes. The official UN celebration of the day will be held at UNESCO Headquarters in Paris, France.

  23. Why the House voted to effectively ban TikTok and what it could mean

    A coal billionaire is building the world's biggest clean energy plant and it's five times the size of Paris

  24. Using a Theoretical Lens to Support Your Claims

    That doesn't mean, though, that you can't comment on why these preferences may have evolved. Theorists (e.g., Buss, 1994) have considered why certain nice guy and bad boy traits may have been selected for during human evolution. ... The Lens Examples from a sample essay: [6] Women's instinctive desire for good genes illustrates a key ...

  25. Total Solar Eclipse Safety: How to Watch Without Hurting Your Eyes

    David Calkins, director of the Vanderbilt Vision Research Center and vice chair of the Vanderbilt Eye Institute in Nashville, said younger people were most at risk of retinal injury, possibly ...

  26. Opinion

    Ms. Wildman is a staff writer and editor in Opinion. A block from my house at the edge of Washington, there is a winding park with a road running through it. One Sunday recently, walking my ...

  27. PDF Major Assignment 1 Sequence: The Lens Essay

    Major Assignment 1 Sequence: The Lens Essay . Due: rough draft: 2/8 at 9am on LATTE Final Length: 6-7pgs final draft: 3/1 at 9am on LATTE . Final Format: MLA format; 12pt Times New Roman; double-spaced; one-inch margins Overview In this unit, we will begin a semester-long discussion about how to read texts closely and apply

  28. One-year efficacy of myopia control by the defocus distributed

    Aims To report the 1-year results of the efficacy of a defocus distributed multipoint (DDM) lens in controlling myopia progression in a multicentre, randomised controlled trial. Methods Overall, 168 children aged 6-13 years were recruited and randomly assigned to wear a DDM lens (n=84) or single-vision (SV) lens (n=84) in three centres. Cycloplegic autorefraction (spherical equivalent ...