essay struktura

A clear, arguable thesis will tell your readers where you are going to end up, but it can also help you figure out how to get them there. Put your thesis at the top of a blank page and then make a list of the points you will need to make to argue that thesis effectively.

For example, consider this example from the thesis handout : While Sandel argues persuasively that our instinct to “remake”(54) ourselves into something ever more perfect is a problem, his belief that we can always draw a line between what is medically necessary and what makes us simply “better than well”(51) is less convincing.

To argue this thesis, the author needs to do the following:

• Show what is persuasive about Sandel’s claims about the problems with striving for perfection.
• Show what is not convincing about Sandel’s claim that we can clearly distinguish between medically necessary enhancements and other enhancements.

Once you have broken down your thesis into main claims, you can then think about what sub-claims you will need to make in order to support each of those main claims. That step might look like this:

• Evidence that Sandel provides to support this claim
• Discussion of why this evidence is convincing even in light of potential counterarguments
• Discussion of cases when medically necessary enhancement and non-medical enhancement cannot be easily distinguished
• Analysis of what those cases mean for Sandel’s argument
• Consideration of counterarguments (what Sandel might say in response to this section of your argument)

Each argument you will make in an essay will be different, but this strategy will often be a useful first step in figuring out the path of your argument.  

Strategy #2: Use subheadings, even if you remove them later  

Scientific papers generally include standard subheadings to delineate different sections of the paper, including “introduction,” “methods,” and “discussion.” Even when you are not required to use subheadings, it can be helpful to put them into an early draft to help you see what you’ve written and to begin to think about how your ideas fit together. You can do this by typing subheadings above the sections of your draft.

If you’re having trouble figuring out how your ideas fit together, try beginning with informal subheadings like these:

• Introduction  
• Explain the author’s main point  
• Show why this main point doesn’t hold up when we consider this other example  
• Explain the implications of what I’ve shown for our understanding of the author  
• Show how that changes our understanding of the topic

For longer papers, you may decide to include subheadings to guide your reader through your argument. In those cases, you would need to revise your informal subheadings to be more useful for your readers. For example, if you have initially written in something like “explain the author’s main point,” your final subheading might be something like “Sandel’s main argument” or “Sandel’s opposition to genetic enhancement.” In other cases, once you have the key pieces of your argument in place, you will be able to remove the subheadings.  

Strategy #3: Create a reverse outline from your draft  

While you may have learned to outline a paper before writing a draft, this step is often difficult because our ideas develop as we write. In some cases, it can be more helpful to write a draft in which you get all of your ideas out and then do a “reverse outline” of what you’ve already written. This doesn’t have to be formal; you can just make a list of the point in each paragraph of your draft and then ask these questions:

• Are those points in an order that makes sense to you?  
• Are there gaps in your argument?  
• Do the topic sentences of the paragraphs clearly state these main points?  
• Do you have more than one paragraph that focuses on the same point? If so, do you need both paragraphs?  
• Do you have some paragraphs that include too many points? If so, would it make more sense to split them up?  
• Do you make points near the end of the draft that would be more effective earlier in your paper?  
• Are there points missing from this draft?  
• picture_as_pdf Tips for Organizing Your Essay

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College essays are an entirely new type of writing for high school seniors. For that reason, many students are confused about proper formatting and essay structure. Should you double-space or single-space? Do you need a title? What kind of narrative style is best-suited for your topic?

In this post, we’ll be going over proper college essay format, traditional and unconventional essay structures (plus sample essays!), and which structure might work best for you. 

General College Essay Formatting Guidelines

How you format your essay will depend on whether you’re submitting in a text box, or attaching a document. We’ll go over the different best practices for both, but regardless of how you’re submitting, here are some general formatting tips:

• There’s no need for a title; it takes up unnecessary space and eats into your word count
• Stay within the word count as much as possible (+/- 10% of the upper limit). For further discussion on college essay length, see our post How Long Should Your College Essay Be?
• Indent or double space to separate paragraphs clearly

If you’re submitting in a text box:

• Avoid italics and bold, since formatting often doesn’t transfer over in text boxes
• Be careful with essays meant to be a certain shape (like a balloon); text boxes will likely not respect that formatting. Beyond that, this technique can also seem gimmicky, so proceed with caution
• Make sure that paragraphs are clearly separated, as text boxes can also undo indents and double spacing

If you’re attaching a document:

• Use a standard font and size like Times New Roman, 12 point
• Make your lines 1.5-spaced or double-spaced
• Use 1-inch margins
• Save as a PDF since it can’t be edited. This also prevents any formatting issues that come with Microsoft Word, since older versions are sometimes incompatible with the newer formatting
• Number each page with your last name in the header or footer (like “Smith 1”)
• Pay extra attention to any word limits, as you won’t be cut off automatically, unlike with most text boxes

Conventional College Essay Structures

Now that we’ve gone over the logistical aspects of your essay, let’s talk about how you should structure your writing. There are three traditional college essay structures. They are:

• In-the-moment narrative
• Narrative told over an extended period of time
• Series of anecdotes, or montage

Let’s go over what each one is exactly, and take a look at some real essays using these structures.

1. In-the-moment narrative

This is where you tell the story one moment at a time, sharing the events as they occur. In the moment narrative is a powerful essay format, as your reader experiences the events, your thoughts, and your emotions with you . This structure is ideal for a specific experience involving extensive internal dialogue, emotions, and reflections.

Here’s an example:

The morning of the Model United Nation conference, I walked into Committee feeling confident about my research. We were simulating the Nuremberg Trials – a series of post-World War II proceedings for war crimes – and my portfolio was of the Soviet Judge Major General Iona Nikitchenko. Until that day, the infamous Nazi regime had only been a chapter in my history textbook; however, the conference’s unveiling of each defendant’s crimes brought those horrors to life. The previous night, I had organized my research, proofread my position paper and gone over Judge Nikitchenko’s pertinent statements. I aimed to find the perfect balance between his stance and my own.

As I walked into committee anticipating a battle of wits, my director abruptly called out to me. “I’m afraid we’ve received a late confirmation from another delegate who will be representing Judge Nikitchenko. You, on the other hand, are now the defense attorney, Otto Stahmer.” Everyone around me buzzed around the room in excitement, coordinating with their allies and developing strategies against their enemies, oblivious to the bomb that had just dropped on me. I felt frozen in my tracks, and it seemed that only rage against the careless delegate who had confirmed her presence so late could pull me out of my trance. After having spent a month painstakingly crafting my verdicts and gathering evidence against the Nazis, I now needed to reverse my stance only three hours before the first session.

Gradually, anger gave way to utter panic. My research was fundamental to my performance, and without it, I knew I could add little to the Trials. But confident in my ability, my director optimistically recommended constructing an impromptu defense. Nervously, I began my research anew. Despite feeling hopeless, as I read through the prosecution’s arguments, I uncovered substantial loopholes. I noticed a lack of conclusive evidence against the defendants and certain inconsistencies in testimonies. My discovery energized me, inspiring me to revisit the historical overview in my conference “Background Guide” and to search the web for other relevant articles. Some Nazi prisoners had been treated as “guilty” before their court dates. While I had brushed this information under the carpet while developing my position as a judge, it now became the focus of my defense. I began scratching out a new argument, centered on the premise that the allied countries had violated the fundamental rule that, a defendant was “not guilty” until proven otherwise.

At the end of the three hours, I felt better prepared. The first session began, and with bravado, I raised my placard to speak. Microphone in hand, I turned to face my audience. “Greetings delegates. I, Otto Stahmer would like to…….” I suddenly blanked. Utter dread permeated my body as I tried to recall my thoughts in vain. “Defence Attorney, Stahmer we’ll come back to you,” my Committee Director broke the silence as I tottered back to my seat, flushed with embarrassment. Despite my shame, I was undeterred. I needed to vindicate my director’s faith in me. I pulled out my notes, refocused, and began outlining my arguments in a more clear and direct manner. Thereafter, I spoke articulately, confidently putting forth my points. I was overjoyed when Secretariat members congratulated me on my fine performance.

Going into the conference, I believed that preparation was the key to success. I wouldn’t say I disagree with that statement now, but I believe adaptability is equally important. My ability to problem-solve in the face of an unforeseen challenge proved advantageous in the art of diplomacy. Not only did this experience transform me into a confident and eloquent delegate at that conference, but it also helped me become a more flexible and creative thinker in a variety of other capacities. Now that I know I can adapt under pressure, I look forward to engaging in activities that will push me to be even quicker on my feet.

This essay is an excellent example of in-the-moment narration. The student openly shares their internal state with us — we feel their anger and panic upon the reversal of roles. We empathize with their emotions of “utter dread” and embarrassment when they’re unable to speak. 

For in-the-moment essays, overloading on descriptions is a common mistake students make. This writer provides just the right amount of background and details to help us understand the situation, however, and balances out the actual event with reflection on the significance of this experience. 

One main area of improvement is that the writer sometimes makes explicit statements that could be better illustrated through their thoughts, actions, and feelings. For instance, they say they “spoke articulately” after recovering from their initial inability to speak, and they also claim that adaptability has helped them in other situations. This is not as engaging as actual examples that convey the same meaning. Still, this essay overall is a strong example of in-the-moment narration, and gives us a relatable look into the writer’s life and personality.

2. Narrative told over an extended period of time

In this essay structure, you share a story that takes place across several different experiences. This narrative style is well-suited for any story arc with multiple parts. If you want to highlight your development over time, you might consider this structure. 

When I was younger, I was adamant that no two foods on my plate touch. As a result, I often used a second plate to prevent such an atrocity. In many ways, I learned to separate different things this way from my older brothers, Nate and Rob. Growing up, I idolized both of them. Nate was a performer, and I insisted on arriving early to his shows to secure front row seats, refusing to budge during intermission for fear of missing anything. Rob was a three-sport athlete, and I attended his games religiously, waving worn-out foam cougar paws and cheering until my voice was hoarse. My brothers were my role models. However, while each was talented, neither was interested in the other’s passion. To me, they represented two contrasting ideals of what I could become: artist or athlete. I believed I had to choose.

And for a long time, I chose athlete. I played soccer, basketball, and lacrosse and viewed myself exclusively as an athlete, believing the arts were not for me. I conveniently overlooked that since the age of five, I had been composing stories for my family for Christmas, gifts that were as much for me as them, as I loved writing. So when in tenth grade, I had the option of taking a creative writing class, I was faced with a question: could I be an athlete and a writer? After much debate, I enrolled in the class, feeling both apprehensive and excited. When I arrived on the first day of school, my teacher, Ms. Jenkins, asked us to write down our expectations for the class. After a few minutes, eraser shavings stubbornly sunbathing on my now-smudged paper, I finally wrote, “I do not expect to become a published writer from this class. I just want this to be a place where I can write freely.”

Although the purpose of the class never changed for me, on the third “submission day,” – our time to submit writing to upcoming contests and literary magazines – I faced a predicament. For the first two submission days, I had passed the time editing earlier pieces, eventually (pretty quickly) resorting to screen snake when hopelessness made the words look like hieroglyphics. I must not have been as subtle as I thought, as on the third of these days, Ms. Jenkins approached me. After shifting from excuse to excuse as to why I did not submit my writing, I finally recognized the real reason I had withheld my work: I was scared. I did not want to be different, and I did not want to challenge not only others’ perceptions of me, but also my own. I yielded to Ms. Jenkin’s pleas and sent one of my pieces to an upcoming contest.

By the time the letter came, I had already forgotten about the contest. When the flimsy white envelope arrived in the mail, I was shocked and ecstatic to learn that I had received 2nd place in a nationwide writing competition. The next morning, however, I discovered Ms. Jenkins would make an announcement to the whole school exposing me as a poet. I decided to own this identity and embrace my friends’ jokes and playful digs, and over time, they have learned to accept and respect this part of me. I have since seen more boys at my school identifying themselves as writers or artists.

I no longer see myself as an athlete and a poet independently, but rather I see these two aspects forming a single inseparable identity – me. Despite their apparent differences, these two disciplines are quite similar, as each requires creativity and devotion. I am still a poet when I am lacing up my cleats for soccer practice and still an athlete when I am building metaphors in the back of my mind – and I have realized ice cream and gummy bears taste pretty good together.

The timeline of this essay spans from the writer’s childhood all the way to sophomore year, but we only see key moments along this journey. First, we get context for why the writer thought he had to choose one identity: his older brothers had very distinct interests. Then, we learn about the student’s 10th grade creative writing class, writing contest, and results of the contest. Finally, the essay covers the writers’ embarrassment of his identity as a poet, to gradual acceptance and pride in that identity. 

This essay is a great example of a narrative told over an extended period of time. It’s highly personal and reflective, as the piece shares the writer’s conflicting feelings, and takes care to get to the root of those feelings. Furthermore, the overarching story is that of a personal transformation and development, so it’s well-suited to this essay structure.

3. Series of anecdotes, or montage

This essay structure allows you to focus on the most important experiences of a single storyline, or it lets you feature multiple (not necessarily related) stories that highlight your personality. Montage is a structure where you piece together separate scenes to form a whole story. This technique is most commonly associated with film. Just envision your favorite movie—it likely is a montage of various scenes that may not even be chronological. 

Night had robbed the academy of its daytime colors, yet there was comfort in the dim lights that cast shadows of our advances against the bare studio walls. Silhouettes of roundhouse kicks, spin crescent kicks, uppercuts and the occasional butterfly kick danced while we sparred. She approached me, eyes narrowed with the trace of a smirk challenging me. “Ready spar!” Her arm began an upward trajectory targeting my shoulder, a common first move. I sidestepped — only to almost collide with another flying fist. Pivoting my right foot, I snapped my left leg, aiming my heel at her midsection. The center judge raised one finger. 

There was no time to celebrate, not in the traditional sense at least. Master Pollard gave a brief command greeted with a unanimous “Yes, sir” and the thud of 20 hands dropping-down-and-giving-him-30, while the “winners” celebrated their victory with laps as usual. 

Three years ago, seven-thirty in the evening meant I was a warrior. It meant standing up straighter, pushing a little harder, “Yes, sir” and “Yes, ma’am”, celebrating birthdays by breaking boards, never pointing your toes, and familiarity. Three years later, seven-thirty in the morning meant I was nervous. 

The room is uncomfortably large. The sprung floor soaks up the checkerboard of sunlight piercing through the colonial windows. The mirrored walls further illuminate the studio and I feel the light scrutinizing my sorry attempts at a pas de bourrée , while capturing the organic fluidity of the dancers around me. “ Chassé en croix, grand battement, pique, pirouette.” I follow the graceful limbs of the woman in front of me, her legs floating ribbons, as she executes what seems to be a perfect ronds de jambes. Each movement remains a negotiation. With admirable patience, Ms. Tan casts me a sympathetic glance.   

There is no time to wallow in the misery that is my right foot. Taekwondo calls for dorsiflexion; pointed toes are synonymous with broken toes. My thoughts drag me into a flashback of the usual response to this painful mistake: “You might as well grab a tutu and head to the ballet studio next door.” Well, here I am Master Pollard, unfortunately still following your orders to never point my toes, but no longer feeling the satisfaction that comes with being a third degree black belt with 5 years of experience quite literally under her belt. It’s like being a white belt again — just in a leotard and ballet slippers. 

But the appetite for new beginnings that brought me here doesn’t falter. It is only reinforced by the classical rendition of “Dancing Queen” that floods the room and the ghost of familiarity that reassures me that this new beginning does not and will not erase the past. After years spent at the top, it’s hard to start over. But surrendering what you are only leads you to what you may become. In Taekwondo, we started each class reciting the tenets: honor, courtesy, integrity, perseverance, self-control, courage, humility, and knowledge, and I have never felt that I embodied those traits more so than when I started ballet. 

The thing about change is that it eventually stops making things so different. After nine different schools, four different countries, three different continents, fluency in Tamil, Norwegian, and English, there are more blurred lines than there are clear fragments. My life has not been a tactfully executed, gold medal-worthy Taekwondo form with each movement defined, nor has it been a series of frappés performed by a prima ballerina with each extension identical and precise, but thankfully it has been like the dynamics of a spinning back kick, fluid, and like my chances of landing a pirouette, unpredictable. 

This essay takes a few different anecdotes and weaves them into a coherent narrative about the writer’s penchant for novel experiences. We’re plunged into her universe, in the middle of her Taekwondo spar, three years before the present day. She then transitions into a scene in a ballet studio, present day. By switching from past tense to present tense, the writer clearly demarcates this shift in time. 

The parallel use of the spoken phrase “Point” in the essay ties these two experiences together. The writer also employs a flashback to Master Pollard’s remark about “grabbing a tutu” and her habit of dorsiflexing her toes, which further cements the connection between these anecdotes. 

While some of the descriptions are a little wordy, the piece is well-executed overall, and is a stellar example of the montage structure. The two anecdotes are seamlessly intertwined, and they both clearly illustrate the student’s determination, dedication, reflectiveness, and adaptability. The writer also concludes the essay with a larger reflection on her life, many moves, and multiple languages. 

Unconventional College Essay Structures

Unconventional essay structures are any that don’t fit into the categories above. These tend to be higher risk, as it’s easier to turn off the admissions officer, but they’re also higher reward if executed correctly. 

There are endless possibilities for unconventional structures, but most fall under one of two categories:

1. Playing with essay format

Instead of choosing a traditional narrative format, you might take a more creative route to showcase your interests, writing your essay:

• As a movie script
• With a creative visual format (such as creating a visual pattern with the spaces between your sentences forming a picture)
• As a two-sided Lincoln-Douglas debate
• As a legal brief
• Using song lyrics

2. Linguistic techniques

You could also play with the actual language and sentence structure of your essay, writing it:

• In iambic pentameter
• Partially in your mother tongue
• In code or a programming language

These linguistic techniques are often hybrid, where you write some of the essay with the linguistic variation, then write more of an explanation in English.

Under no circumstances should you feel pressured to use an unconventional structure. Trying to force something unconventional will only hurt your chances. That being said, if a creative structure comes naturally to you, suits your personality, and works with the content of your essay — go for that structure!

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How To Structure Your MBA Essays

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A lot of people think they are not great storytellers. It’s true that some of us come by it more naturally than others. But with the proper structure and mindset, anybody can become a great storyteller. That’s why we’re diving deep into how to structure your MBA essays to tell your unique story. Remember, the AdCom member reading your materials only has about 15-20 minutes to form an impression of your candidacy. You don’t want them to merely like your application when they finish reading it.

“What you really want to be is the applicant they’re thinking about as they drive home that night, as they’re chatting with their spouse over spaghetti that evening,” explains SBC consultant and B-Schooled host Chandler Arnold. He recently sat down with fellow SBC consultant Kevin Rockmael to discuss essay writing strategy.

A few decades ago, business schools focused far more on applicants’ quantitative or technical skills when making admissions decisions. While your ability to handle the rigors of an MBA program is still a significant consideration, your emotional intelligence counts for an outsized amount these days. The so-called “soft skills” surrounding communication, the ability to motivate others, and leadership are attractive qualities to the admissions committee.

Chandler says that if you can demonstrate those soft skills in your essays, the AdCom is much more likely to take a chance on you. “Because they know that not only will you be successful… but more importantly, when you graduate, you’ll have a larger impact on companies. And that’s ultimately what these business schools are trying to accomplish.”

Your goal when drafting those essays is to make sure your stories are believable and authentic, SBC consultant Kevin explains. Does it seem real? Is your motivation clear? And perhaps most important, do you seem like someone the admissions committee is rooting for?

Curious about your chances of getting into a top B-school? Contact us to talk strategy with a free 15-minute MBA Advising Session with an SBC Principal Consultant.

HOW TO STRUCTURE YOUR MBA ESSAYS TO WIN OVER THE ADCOM

This is one of the topics SBC consultants get asked about the most. “I believe that structure is really the key part of the essay,” says Chandler. “So once you create that North Star, I think the second part is creating the structure, and then it’s actually filling in the sentences and then doing a lot of iteration to make sure that it all fits together.”

Some MBA applicants bristle at the idea, thinking that structure equals formulaic or that it will stunt their creativity. But we would urge you to flip that frame. Instead, think of structure as something that allows you to be more creative and compelling. When a reader senses there’s some structure to the material, it will enable them to relax and enjoy themselves as they read your essay.

The best essays are a balanced combination of a lot of different things. You’ll see personal stories. You’ll see specific accomplishments and experiences. You’ll get insights into what people have learned and how they’ve grown.

Here are the four main components SBC consultant Kevin advises you to consider as you structure your MBA essays.

Your Opening. What big problem have you seen or experienced that you want to solve?

Your Background. Talk about your background and the obstacles you have faced and learned from. 

Your Goal + Your Experience. What is missing from your background and experience? How will business school help you reach your long-term goals? Here is where you connect your dreams to the MBA program you’re interested in attending.

Conclusion . The last part of the essay is a wrap-up of the problem you discussed at the beginning and how you addressed it. Finally, explain how you will create a better world to solve that problem. 

B-Schooled co-host/Harvard MBA Erika Olson wants you to remember those three magic words of good storytelling: show, don’t tell. 

THE POWER OF THE CIRCLE

Another way to think about how to structure your MBA essays is to harken back to your favorite high school English teacher. Remember those standard five-paragraph essays? It may seem overly simplistic, but sometimes those simple things are the most powerful, Chandler notes.

• Paragraph 1: Start with an attention-grabbing first sentence or a personal anecdote. This surprises your reader and sets them up for the rest of your story.
• Paragraphs 2-4: Each could share one specific point supporting your argument. Maybe it’s a lesson you learn from college, your first job, etc. Use the STAR format to highlight your results and what you learned.
• Paragraph 5: Your conclusion harkens back to how you opened your essay. “I think there is a real power in kind of bringing things full circle,” Chandler says.

We often advise applicants to make a checklist of the key elements they want to cover in their entire application package.

• Are there personal stories?
• What about accomplishments?
• Have you done significant self-reflection?
• Did you highlight your leadership experience?
• Is there enough about grit and perseverance?

Find a trusted friend, colleague, or family member to read through your materials. Ask them to identify the major themes or takeaways they get from your entire package. You’ll learn a few things. Have you covered everything? Does it seem balanced? Or are you heavy in one particular direction? And if you are, then it’s time to fix it. You want to ensure that you’re building a package that tells your unique story. It should showcase you as a complete human and differentiate you from others within the application pool.

Get ready to put in the work.

Author Stephen King once said, “Talent is cheaper than table salt . What separates the talented individual from the successful one is a lot of hard work.” The hardest part is starting. And after that, everything gets easier. Best of luck on your MBA adventures; we can’t wait to read what you create.

Stacy Blackman Consulting’s Podcast, B-Schooled, is hosted by Erika Olson, Harvard MBA and Chandler Arnold, Stanford GSB MBA. B-Schooled now has more than a quarter million downloads and 200+ episodes.  Search and sort through our 200 B-Schooled podcasts . 

Questions about this article? Email us or leave a comment below.

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Home — Essay Samples — Environment — Solar Energy — The Solar System: An Intricate Cosmic Structure

The Solar System: an Intricate Cosmic Structure

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Published: Jun 6, 2024

Words: 663 | Page: 1 | 4 min read

Table of contents

Introduction, body paragraph, components of the solar system, dynamics and interactions, significance of research.

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The Structure and Impact of the Caste System Pyramid

This essay about the caste system pyramid in India explains its structure and impact on society. It describes the hierarchy from the Brahmins, who are priests and scholars, at the top, to the Kshatriyas, the warrior class, followed by the Vaishyas, who are merchants and landowners, and finally the Shudras, who perform manual labor. Outside this hierarchy are the Dalits, who face severe discrimination. The essay discusses how the caste system has influenced social interactions, economic development, and cultural practices in India. Despite legal reforms and social progress, caste-based discrimination remains a significant issue, highlighting the need for continued efforts to promote social equality.

How it works

The societal framework known as the caste system, deeply entrenched in Indian culture, has wielded substantial influence over the lives and trajectories of millions across epochs. Emanating from ancient customs and religious doctrines, this system delineates society into stratified tiers, each endowed with its own array of responsibilities, advantages, and constraints. Illustrated as a hierarchical pyramid, individuals are allocated into specific social echelons from birth, profoundly shaping their prospects and interactions over their lifetimes.

At the apex of this societal pyramid reside the Brahmins, traditionally occupying roles as sacerdotal figures and erudite custodians tasked with orchestrating religious rites and safeguarding sacred wisdom.

Their esteemed status emanates from their function as mediators between divine entities and mortal beings, thereby garnering considerable reverence and influence within society. The exalted stature of the Brahmins underscores the paramountcy accorded to spiritual and intellectual pursuits within the cultural ethos of India.

Beneath the Brahmins lie the Kshatriyas, comprising the warrior and governing class. Historically entrusted with the mantle of safeguarding and administering the realm, Kshatriyas were entrusted with duties encompassing military service and political stewardship, rendering them the sentinels and overseers of societal order. The role of the Kshatriyas underscores the indispensability of structure and protection in preserving social equilibrium.

Occupying the third stratum of the societal hierarchy are the Vaishyas, encompassing traders, craftsmen, and landholders. Their contributions to the economic milieu through commerce, agrarian pursuits, and craftsmanship constituted linchpins for communal prosperity. The Vaishyas played an indispensable role in bolstering the material affluence and economic scaffolding of society, with their endeavors being indispensable for the overarching welfare of the community.

Occupying the base of the traditional caste pyramid are the Shudras, tasked with serving the upper strata through various forms of labor. Primarily engaged in agricultural endeavors, construction tasks, and other manual occupations, the Shudras’ role underscores the centrality of toil in buttressing the upper echelons of the hierarchy, albeit often grappling with considerable societal constraints and circumscribed avenues for upward mobility.

Beyond the confines of this pyramid structure reside the Dalits, historically denoted as “Untouchables.” Marginalized and ostracized, the Dalits were relegated to occupations deemed impure or contaminating, such as sanitation endeavors and leather processing. Subjected to severe discrimination, they were deprived of access to resources and opportunities available to their higher-caste counterparts. The plight of the Dalits serves as a stark illustration of the stark realities of social marginalization and inequality perpetuated by the caste system.

Despite legislative reforms and societal strides, the legacy of the caste system continues to permeate Indian society. Its rigid framework has engendered enduring social stratification and curtailed social mobility across epochs. Even in contemporary times, caste-based prejudices endure in manifold manifestations, impinging upon access to education, employment, and social amenities. Endeavors to redress these disparities have encompassed affirmative action initiatives, legal safeguards, and societal advocacy endeavors aimed at dismantling caste-based barriers and fostering parity.

The ramifications of the caste system transcend individual lives, impinging upon broader societal dynamics and interactions. It has left an indelible imprint on political structures, economic progressions, and cultural norms, becoming indelibly interwoven into the very fabric of Indian society. Comprehending the historical antecedents and contemporary ramifications of the caste system is imperative for grappling with the social impediments it engenders.

While the caste system stands censured for its intrinsic disparities, it is incumbent upon us to contextualize its cultural and historical genesis. Originating from ancient scriptures and traditions seeking to codify society based on occupational delineations and religious duties, these classifications metamorphosed over time into more rigid and hierarchical stratifications, fostering the entrenched social segmentation witnessed today.

In summation, the caste system’s pyramidical edifice embodies a multifaceted and enduring social construct that has left an indelible imprint on Indian society across millennia. From the apex occupied by the Brahmins to the Dalits relegated outside the hierarchy, each echelon of the pyramid reflects distinctive roles and obligations that have historically demarcated individuals’ societal status and life trajectories. Despite strides made in ameliorating caste-based biases, the legacy of the caste system continues to reverberate in contemporary India. Addressing its ramifications necessitates a nuanced grasp of its genesis, perpetuation, and ongoing endeavors to foster social equity and justice.

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Media Companies Are Making a Huge Mistake With AI

News organizations rushing to absolve AI companies of theft are acting against their own interests.

In 2011, I sat in the Guggenheim Museum in New York and watched Rupert Murdoch announce the beginning of a “new digital renaissance” for news. The newspaper mogul was unveiling an iPad-inspired publication called The Daily . “The iPad demands that we completely reimagine our craft,” he said. The Daily shut down the following year, after burning through a reported $40 million.

For as long as I have reported on internet companies, I have watched news leaders try to bend their businesses to the will of Apple, Google, Meta, and more. Chasing tech’s distribution and cash, news firms strike deals to try to ride out the next digital wave. They make concessions to platforms that attempt to take all of the audience (and trust) that great journalism attracts, without ever having to do the complicated and expensive work of the journalism itself. And it never, ever works as planned.

Publishers like News Corp did it with Apple and the iPad, investing huge sums in flashy content that didn’t make them any money but helped Apple sell more hardware. They took payouts from Google to offer their journalism for free through search, only to find that it eroded their subscription businesses. They lined up to produce original video shows for Facebook and to reformat their articles to work well in its new app. Then the social-media company canceled the shows and the app. Many news organizations went out of business.

The Wall Street Journal recently laid off staffers who were part of a Google-funded program to get journalists to post to YouTube channels when the funding for the program dried up . And still, just as the news business is entering a death spiral, these publishers are making all the same mistakes, and more, with AI.

Adrienne LaFrance: The coming humanist renaissance

Publishers are deep in negotiations with tech firms such as OpenAI to sell their journalism as training for the companies’ models. It turns out that accurate, well-written news is one of the most valuable sources for these models, which have been hoovering up humans’ intellectual output without permission. These AI platforms need timely news and facts to get consumers to trust them. And now, facing the threat of lawsuits, they are pursuing business deals to absolve them of the theft. These deals amount to settling without litigation. The publishers willing to roll over this way aren’t just failing to defend their own intellectual property—they are also trading their own hard-earned credibility for a little cash from the companies that are simultaneously undervaluing them and building products quite clearly intended to replace them.

Late last year Axel Springer, the European publisher that owns Politico and Business Insider , sealed a deal with OpenAI reportedly worth tens of millions of dollars over several years. OpenAI has been offering other publishers $1 million to $5 million a year to license their content . News Corp’s new five-year deal with OpenAI is reportedly valued at as much as $250 million in cash and OpenAI credits. Conversations are heating up. As its negotiations with OpenAI failed, The New York Times sued the firm—as did Alden Global Capital, which owns the New York Daily News and the Chicago Tribune . They were brave moves, although I worry that they are likely to end in deals too.

That media companies would rush to do these deals after being so burned by their tech deals of the past is extraordinarily distressing. And these AI partnerships are far worse for publishers. Ten years ago, it was at least plausible to believe that tech companies would become serious about distributing news to consumers. They were building actual products such as Google News. Today’s AI chatbots are so early and make mistakes often. Just this week, Google’s AI suggested you should glue cheese to pizza crust to keep it from slipping off.

OpenAI and others say they are interested in building new models for distributing and crediting news, and many news executives I respect believe them. But it’s hard to see how any AI product built by a tech company would create meaningful new distribution and revenue for news. These companies are using AI to disrupt internet search—to help users find a single answer faster than browsing a few links. So why would anyone want to read a bunch of news articles when an AI could give them the answer, maybe with a tiny footnote crediting the publisher that no user will ever click on?

Companies act in their interest. But OpenAI isn’t even an ordinary business. It’s a nonprofit (with a for-profit arm) that wants to promote general artificial intelligence that benefits humanity—though it can’t quite decide what that means. Even if its executives were ardent believers in the importance of news, helping journalism wouldn’t be on their long-term priority list.

Ross Andersen: Does Sam Altman know what he’s creating?

That’s all before we talk about how to price the news. Ask six publishers how they should be paid by these tech companies, and they will spout off six different ideas. One common idea publishers describe is getting a slice of the tech companies’ revenue based on the percentage of the total training data their publications represent. That’s impossible to track, and there’s no way tech companies would agree to it. Even if they did agree to it, there would be no way to check their calculations—the data sets used for training are vast and inscrutable. And let’s remember that these AI companies are themselves struggling to find a consumer business model. How do you negotiate for a slice of something that doesn’t yet exist?

The news industry finds itself in this dangerous spot, yet again, in part because it lacks a long-term focus and strategic patience. Once-family-owned outlets, such as The Washington Post and the Los Angeles Times , have been sold to interested billionaires. Others, like The Wall Street Journal , are beholden to the public markets and face coming generational change among their owners. Television journalism is at the whims of the largest media conglomerates, which are now looking to slice, dice, and sell off their empires at peak market value. Many large media companies are run by executives who want to live to see another quarter, not set up their companies for the next 50 years. At the same time, the industry’s lobbying power is eroding. A recent congressional hearing on the topic of AI and news was overshadowed by OpenAI CEO Sam Altman’s meeting with House Speaker Mike Johnson . Tech companies clearly have far more clout than media companies.

Things are about to get worse. Legacy and upstart media alike are bleeding money and talent by the week. More outlets are likely to shut down, while others will end up in the hands of powerful individuals using them for their own agendas (see the former GOP presidential candidate Vivek Ramaswamy’s activist play for BuzzFeed ).

The long-term solutions are far from clear. But the answer to this moment is painfully obvious. Publishers should be patient and refrain from licensing away their content for relative pennies. They should protect the value of their work, and their archives. They should have the integrity to say no. It’s simply too early to get into bed with the companies that trained their models on professional content without permission and have no compelling case for how they will help build the news business.

Instead of keeping their business-development departments busy, newsrooms should focus on what they do best: making great journalism and serving it up to their readers. Technology companies aren’t in the business of news. And they shouldn’t be. Publishers have to stop looking to them to rescue the news business. We must start saving ourselves.