essays in comparative literature

Free Comparative Literature Essay Examples & Topics

Comparative literature explores the relationship between works of fiction of different cultures and times. Its purpose is to establish the connection between specific genres, styles, and literary devices and the historical period. At the same time, it provides an insight into the meaning hidden between the lines of a given text.

What is a literary comparison essay? This academic paper requires a specific methodology but follows the typical rules. A student is expected to perform comparative textual analysis of a short story, novel, or any other piece of narrative writing. However, it is vital to remember that only the pieces with something in common are comparable.

This is where all the challenges start. Without an in-depth literature review, it is not always clear which works can and should be compared. Which aspects should be considered, and which could be left out? The structure of a comparative essay is another stumbling rock.

For this reason, our team has prepared a brief guide. Here, you will learn how to write a successful comparative literature essay and, more importantly, what to write in it. And that is not all! Underneath the article, we have prepared some comparative literary analysis essay examples written by students like you.

How to Write a Comparative Essay

Comparative literary analysis requires you to know how to correlate two different things in general. So let us start from the basics. This section explains how to write a comparative paper.

A good comparison essay structure relies on two techniques:

• Alternating or point-by-point method.

Using this technique, you dedicate two paragraphs for each new comparison aspect, one for each subject. It is the best way to establish similar and different features in the two novels. Such comparative analysis works best for research, providing a detailed and well-structured text.

1st Body Paragraph: Social problems in Steinback’s works.

2nd Body Paragraph: Social problems in Hemingway’s works.

3rd Body Paragraph: Psychological problems in Steinback’s works.

4th Body Paragraph: Psychological problems in Hemingway’s works.

5th Body Paragraph: Interpersonal problems in Steinback’s works.

• Block or subject-by-subject method .

This approach means that you divide your essay in two. The first part discusses one text or author, and the second part analyzes the other. The challenge here is to avoid writing two disconnected papers under one title.

For this purpose, constantly refer the second part to the first one to show the differences and similarities. You should use the technique if you have more than two comparison subjects (add another paragraph for each next one). It also works well when there is little in common between the subjects.

1-3 Body Paragraphs: Description of rural labor in Steinback’s works.

4-6 Body Paragraphs: Description of rural labor in Hemingway’s works.

You will formulate a thesis and distribute the arguments and supporting evidence depending on the chosen structure. You can consult the possible options in our comparative literature essay examples.

How to Conduct Literary Comparison: Essay Tips

Let us move to the main point of this article: the comparison of literature. In this section, we will discuss how to write an ideal essay in this format.

We suggest you stick to the following action plan:

• Choose literary works to compare. They should have some features in common. For example, the protagonist faces the same type of conflict, or the setting is the same. You should know the works well enough to find the necessary passages. Check the comparative literature examples below if you struggle with the step.
• Select the topic, thinking of similarities. The broader the matter, the more challenging the writing. A comparative study of the protagonists in two books is harder than analyzing the same theme that appears in them. Characters may have little in common, making the analysis more complicated.
• Find both differences and similarities. Once you’ve formulated the topic , make a list of features to compare. If the subjects are too different, choose the block method of contrasting them. Otherwise, the alternating technique will do.
• Formulate a thesis statement that has a comparative nature. It should convey the gist of the essay’s argument. Highlight the relationship between the books. Do they contradict, supplement, develop, or correct each other? You can start the thesis statement with “whereas.” For example, “Whereas Heathcliff in Wuthering Heights and Darcy in Pride and Prejudice are full of pride, this trait leads them to different troubles.”
• Outline and list key elements. Select three to six comparable aspects depending on your essay’s expected length. Then, plan in what order you’ll present them and according to which technique.
• Link elements and write. Distribute the features among the comparative paragraphs. If you wish to prove that the books are more different than alike, start with the most diverging factors and move to the most similar ones.

That’s it! Thank you for reading this article. For more examples of comparative literature essays, check the links below.

744 Best Essay Examples on Comparative Literature

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• Comparing and contrasting in an essay | Tips & examples

Comparing and Contrasting in an Essay | Tips & Examples

Published on August 6, 2020 by Jack Caulfield . Revised on July 23, 2023.

Comparing and contrasting is an important skill in academic writing . It involves taking two or more subjects and analyzing the differences and similarities between them.

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Table of contents

When should i compare and contrast, making effective comparisons, comparing and contrasting as a brainstorming tool, structuring your comparisons, other interesting articles, frequently asked questions about comparing and contrasting.

Many assignments will invite you to make comparisons quite explicitly, as in these prompts.

• Compare the treatment of the theme of beauty in the poetry of William Wordsworth and John Keats.
• Compare and contrast in-class and distance learning. What are the advantages and disadvantages of each approach?

Some other prompts may not directly ask you to compare and contrast, but present you with a topic where comparing and contrasting could be a good approach.

One way to approach this essay might be to contrast the situation before the Great Depression with the situation during it, to highlight how large a difference it made.

Comparing and contrasting is also used in all kinds of academic contexts where it’s not explicitly prompted. For example, a literature review involves comparing and contrasting different studies on your topic, and an argumentative essay may involve weighing up the pros and cons of different arguments.

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As the name suggests, comparing and contrasting is about identifying both similarities and differences. You might focus on contrasting quite different subjects or comparing subjects with a lot in common—but there must be some grounds for comparison in the first place.

For example, you might contrast French society before and after the French Revolution; you’d likely find many differences, but there would be a valid basis for comparison. However, if you contrasted pre-revolutionary France with Han-dynasty China, your reader might wonder why you chose to compare these two societies.

This is why it’s important to clarify the point of your comparisons by writing a focused thesis statement . Every element of an essay should serve your central argument in some way. Consider what you’re trying to accomplish with any comparisons you make, and be sure to make this clear to the reader.

Comparing and contrasting can be a useful tool to help organize your thoughts before you begin writing any type of academic text. You might use it to compare different theories and approaches you’ve encountered in your preliminary research, for example.

Let’s say your research involves the competing psychological approaches of behaviorism and cognitive psychology. You might make a table to summarize the key differences between them.

Or say you’re writing about the major global conflicts of the twentieth century. You might visualize the key similarities and differences in a Venn diagram.

These visualizations wouldn’t make it into your actual writing, so they don’t have to be very formal in terms of phrasing or presentation. The point of comparing and contrasting at this stage is to help you organize and shape your ideas to aid you in structuring your arguments.

When comparing and contrasting in an essay, there are two main ways to structure your comparisons: the alternating method and the block method.

The alternating method

In the alternating method, you structure your text according to what aspect you’re comparing. You cover both your subjects side by side in terms of a specific point of comparison. Your text is structured like this:

Mouse over the example paragraph below to see how this approach works.

One challenge teachers face is identifying and assisting students who are struggling without disrupting the rest of the class. In a traditional classroom environment, the teacher can easily identify when a student is struggling based on their demeanor in class or simply by regularly checking on students during exercises. They can then offer assistance quietly during the exercise or discuss it further after class. Meanwhile, in a Zoom-based class, the lack of physical presence makes it more difficult to pay attention to individual students’ responses and notice frustrations, and there is less flexibility to speak with students privately to offer assistance. In this case, therefore, the traditional classroom environment holds the advantage, although it appears likely that aiding students in a virtual classroom environment will become easier as the technology, and teachers’ familiarity with it, improves.

The block method

In the block method, you cover each of the overall subjects you’re comparing in a block. You say everything you have to say about your first subject, then discuss your second subject, making comparisons and contrasts back to the things you’ve already said about the first. Your text is structured like this:

• Point of comparison A
• Point of comparison B

The most commonly cited advantage of distance learning is the flexibility and accessibility it offers. Rather than being required to travel to a specific location every week (and to live near enough to feasibly do so), students can participate from anywhere with an internet connection. This allows not only for a wider geographical spread of students but for the possibility of studying while travelling. However, distance learning presents its own accessibility challenges; not all students have a stable internet connection and a computer or other device with which to participate in online classes, and less technologically literate students and teachers may struggle with the technical aspects of class participation. Furthermore, discomfort and distractions can hinder an individual student’s ability to engage with the class from home, creating divergent learning experiences for different students. Distance learning, then, seems to improve accessibility in some ways while representing a step backwards in others.

Note that these two methods can be combined; these two example paragraphs could both be part of the same essay, but it’s wise to use an essay outline to plan out which approach you’re taking in each paragraph.

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Some essay prompts include the keywords “compare” and/or “contrast.” In these cases, an essay structured around comparing and contrasting is the appropriate response.

Comparing and contrasting is also a useful approach in all kinds of academic writing : You might compare different studies in a literature review , weigh up different arguments in an argumentative essay , or consider different theoretical approaches in a theoretical framework .

Your subjects might be very different or quite similar, but it’s important that there be meaningful grounds for comparison . You can probably describe many differences between a cat and a bicycle, but there isn’t really any connection between them to justify the comparison.

You’ll have to write a thesis statement explaining the central point you want to make in your essay , so be sure to know in advance what connects your subjects and makes them worth comparing.

Comparisons in essays are generally structured in one of two ways:

• The alternating method, where you compare your subjects side by side according to one specific aspect at a time.
• The block method, where you cover each subject separately in its entirety.

It’s also possible to combine both methods, for example by writing a full paragraph on each of your topics and then a final paragraph contrasting the two according to a specific metric.

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• Comparative Analysis

What It Is and Why It's Useful

Comparative analysis asks writers to make an argument about the relationship between two or more texts. Beyond that, there's a lot of variation, but three overarching kinds of comparative analysis stand out:

• Coordinate (A ↔ B): In this kind of analysis, two (or more) texts are being read against each other in terms of a shared element, e.g., a memoir and a novel, both by Jesmyn Ward; two sets of data for the same experiment; a few op-ed responses to the same event; two YA books written in Chicago in the 2000s; a film adaption of a play; etc. 
• Subordinate (A  → B) or (B → A ): Using a theoretical text (as a "lens") to explain a case study or work of art (e.g., how Anthony Jack's The Privileged Poor can help explain divergent experiences among students at elite four-year private colleges who are coming from similar socio-economic backgrounds) or using a work of art or case study (i.e., as a "test" of) a theory's usefulness or limitations (e.g., using coverage of recent incidents of gun violence or legislation un the U.S. to confirm or question the currency of Carol Anderson's The Second ).
• Hybrid [A  → (B ↔ C)] or [(B ↔ C) → A] , i.e., using coordinate and subordinate analysis together. For example, using Jack to compare or contrast the experiences of students at elite four-year institutions with students at state universities and/or community colleges; or looking at gun culture in other countries and/or other timeframes to contextualize or generalize Anderson's main points about the role of the Second Amendment in U.S. history.

"In the wild," these three kinds of comparative analysis represent increasingly complex—and scholarly—modes of comparison. Students can of course compare two poems in terms of imagery or two data sets in terms of methods, but in each case the analysis will eventually be richer if the students have had a chance to encounter other people's ideas about how imagery or methods work. At that point, we're getting into a hybrid kind of reading (or even into research essays), especially if we start introducing different approaches to imagery or methods that are themselves being compared along with a couple (or few) poems or data sets.

Why It's Useful

In the context of a particular course, each kind of comparative analysis has its place and can be a useful step up from single-source analysis. Intellectually, comparative analysis helps overcome the "n of 1" problem that can face single-source analysis. That is, a writer drawing broad conclusions about the influence of the Iranian New Wave based on one film is relying entirely—and almost certainly too much—on that film to support those findings. In the context of even just one more film, though, the analysis is suddenly more likely to arrive at one of the best features of any comparative approach: both films will be more richly experienced than they would have been in isolation, and the themes or questions in terms of which they're being explored (here the general question of the influence of the Iranian New Wave) will arrive at conclusions that are less at-risk of oversimplification.

For scholars working in comparative fields or through comparative approaches, these features of comparative analysis animate their work. To borrow from a stock example in Western epistemology, our concept of "green" isn't based on a single encounter with something we intuit or are told is "green." Not at all. Our concept of "green" is derived from a complex set of experiences of what others say is green or what's labeled green or what seems to be something that's neither blue nor yellow but kind of both, etc. Comparative analysis essays offer us the chance to engage with that process—even if only enough to help us see where a more in-depth exploration with a higher and/or more diverse "n" might lead—and in that sense, from the standpoint of the subject matter students are exploring through writing as well the complexity of the genre of writing they're using to explore it—comparative analysis forms a bridge of sorts between single-source analysis and research essays.

Typical learning objectives for single-sources essays: formulate analytical questions and an arguable thesis, establish stakes of an argument, summarize sources accurately, choose evidence effectively, analyze evidence effectively, define key terms, organize argument logically, acknowledge and respond to counterargument, cite sources properly, and present ideas in clear prose.

Common types of comparative analysis essays and related types: two works in the same genre, two works from the same period (but in different places or in different cultures), a work adapted into a different genre or medium, two theories treating the same topic; a theory and a case study or other object, etc.

How to Teach It: Framing + Practice

Framing multi-source writing assignments (comparative analysis, research essays, multi-modal projects) is likely to overlap a great deal with "Why It's Useful" (see above), because the range of reasons why we might use these kinds of writing in academic or non-academic settings is itself the reason why they so often appear later in courses. In many courses, they're the best vehicles for exploring the complex questions that arise once we've been introduced to the course's main themes, core content, leading protagonists, and central debates.

For comparative analysis in particular, it's helpful to frame assignment's process and how it will help students successfully navigate the challenges and pitfalls presented by the genre. Ideally, this will mean students have time to identify what each text seems to be doing, take note of apparent points of connection between different texts, and start to imagine how those points of connection (or the absence thereof)

• complicates or upends their own expectations or assumptions about the texts
• complicates or refutes the expectations or assumptions about the texts presented by a scholar
• confirms and/or nuances expectations and assumptions they themselves hold or scholars have presented
• presents entirely unforeseen ways of understanding the texts

—and all with implications for the texts themselves or for the axes along which the comparative analysis took place. If students know that this is where their ideas will be heading, they'll be ready to develop those ideas and engage with the challenges that comparative analysis presents in terms of structure (See "Tips" and "Common Pitfalls" below for more on these elements of framing).

Like single-source analyses, comparative essays have several moving parts, and giving students practice here means adapting the sample sequence laid out at the " Formative Writing Assignments " page. Three areas that have already been mentioned above are worth noting:

• Gathering evidence : Depending on what your assignment is asking students to compare (or in terms of what), students will benefit greatly from structured opportunities to create inventories or data sets of the motifs, examples, trajectories, etc., shared (or not shared) by the texts they'll be comparing. See the sample exercises below for a basic example of what this might look like.
• Why it Matters: Moving beyond "x is like y but also different" or even "x is more like y than we might think at first" is what moves an essay from being "compare/contrast" to being a comparative analysis . It's also a move that can be hard to make and that will often evolve over the course of an assignment. A great way to get feedback from students about where they're at on this front? Ask them to start considering early on why their argument "matters" to different kinds of imagined audiences (while they're just gathering evidence) and again as they develop their thesis and again as they're drafting their essays. ( Cover letters , for example, are a great place to ask writers to imagine how a reader might be affected by reading an their argument.)
• Structure: Having two texts on stage at the same time can suddenly feel a lot more complicated for any writer who's used to having just one at a time. Giving students a sense of what the most common patterns (AAA / BBB, ABABAB, etc.) are likely to be can help them imagine, even if provisionally, how their argument might unfold over a series of pages. See "Tips" and "Common Pitfalls" below for more information on this front.

Sample Exercises and Links to Other Resources

• Common Pitfalls
• Advice on Timing
• Try to keep students from thinking of a proposed thesis as a commitment. Instead, help them see it as more of a hypothesis that has emerged out of readings and discussion and analytical questions and that they'll now test through an experiment, namely, writing their essay. When students see writing as part of the process of inquiry—rather than just the result—and when that process is committed to acknowledging and adapting itself to evidence, it makes writing assignments more scientific, more ethical, and more authentic. 
• Have students create an inventory of touch points between the two texts early in the process.
• Ask students to make the case—early on and at points throughout the process—for the significance of the claim they're making about the relationship between the texts they're comparing.
• For coordinate kinds of comparative analysis, a common pitfall is tied to thesis and evidence. Basically, it's a thesis that tells the reader that there are "similarities and differences" between two texts, without telling the reader why it matters that these two texts have or don't have these particular features in common. This kind of thesis is stuck at the level of description or positivism, and it's not uncommon when a writer is grappling with the complexity that can in fact accompany the "taking inventory" stage of comparative analysis. The solution is to make the "taking inventory" stage part of the process of the assignment. When this stage comes before students have formulated a thesis, that formulation is then able to emerge out of a comparative data set, rather than the data set emerging in terms of their thesis (which can lead to confirmation bias, or frequency illusion, or—just for the sake of streamlining the process of gathering evidence—cherry picking). 
• For subordinate kinds of comparative analysis , a common pitfall is tied to how much weight is given to each source. Having students apply a theory (in a "lens" essay) or weigh the pros and cons of a theory against case studies (in a "test a theory") essay can be a great way to help them explore the assumptions, implications, and real-world usefulness of theoretical approaches. The pitfall of these approaches is that they can quickly lead to the same biases we saw here above. Making sure that students know they should engage with counterevidence and counterargument, and that "lens" / "test a theory" approaches often balance each other out in any real-world application of theory is a good way to get out in front of this pitfall.
• For any kind of comparative analysis, a common pitfall is structure. Every comparative analysis asks writers to move back and forth between texts, and that can pose a number of challenges, including: what pattern the back and forth should follow and how to use transitions and other signposting to make sure readers can follow the overarching argument as the back and forth is taking place. Here's some advice from an experienced writing instructor to students about how to think about these considerations:

a quick note on STRUCTURE

     Most of us have encountered the question of whether to adopt what we might term the “A→A→A→B→B→B” structure or the “A→B→A→B→A→B” structure.  Do we make all of our points about text A before moving on to text B?  Or do we go back and forth between A and B as the essay proceeds?  As always, the answers to our questions about structure depend on our goals in the essay as a whole.  In a “similarities in spite of differences” essay, for instance, readers will need to encounter the differences between A and B before we offer them the similarities (A d →B d →A s →B s ).  If, rather than subordinating differences to similarities you are subordinating text A to text B (using A as a point of comparison that reveals B’s originality, say), you may be well served by the “A→A→A→B→B→B” structure.  

     Ultimately, you need to ask yourself how many “A→B” moves you have in you.  Is each one identical?  If so, you may wish to make the transition from A to B only once (“A→A→A→B→B→B”), because if each “A→B” move is identical, the “A→B→A→B→A→B” structure will appear to involve nothing more than directionless oscillation and repetition.  If each is increasingly complex, however—if each AB pair yields a new and progressively more complex idea about your subject—you may be well served by the “A→B→A→B→A→B” structure, because in this case it will be visible to readers as a progressively developing argument.

As we discussed in "Advice on Timing" at the page on single-source analysis, that timeline itself roughly follows the "Sample Sequence of Formative Assignments for a 'Typical' Essay" outlined under " Formative Writing Assignments, " and it spans about 5–6 steps or 2–4 weeks. 

Comparative analysis assignments have a lot of the same DNA as single-source essays, but they potentially bring more reading into play and ask students to engage in more complicated acts of analysis and synthesis during the drafting stages. With that in mind, closer to 4 weeks is probably a good baseline for many single-source analysis assignments. For sections that meet once per week, the timeline will either probably need to expand—ideally—a little past the 4-week side of things, or some of the steps will need to be combined or done asynchronously.

What It Can Build Up To

Comparative analyses can build up to other kinds of writing in a number of ways. For example:

• They can build toward other kinds of comparative analysis, e.g., student can be asked to choose an additional source to complicate their conclusions from a previous analysis, or they can be asked to revisit an analysis using a different axis of comparison, such as race instead of class. (These approaches are akin to moving from a coordinate or subordinate analysis to more of a hybrid approach.)
• They can scaffold up to research essays, which in many instances are an extension of a "hybrid comparative analysis."
• Like single-source analysis, in a course where students will take a "deep dive" into a source or topic for their capstone, they can allow students to "try on" a theoretical approach or genre or time period to see if it's indeed something they want to research more fully.
• DIY Guides for Analytical Writing Assignments

• Types of Assignments
• Unpacking the Elements of Writing Prompts
• Formative Writing Assignments
• Single-Source Analysis
• Research Essays
• Multi-Modal or Creative Projects
• Giving Feedback to Students

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The Comparative Essay

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What is a comparative essay?

A comparative essay asks that you compare at least two (possibly more) items. These items will differ depending on the assignment. You might be asked to compare

• positions on an issue (e.g., responses to midwifery in Canada and the United States)
• theories (e.g., capitalism and communism)
• figures (e.g., GDP in the United States and Britain)
• texts (e.g., Shakespeare’s Hamlet and Macbeth )
• events (e.g., the Great Depression and the global financial crisis of 2008–9)

Although the assignment may say “compare,” the assumption is that you will consider both the similarities and differences; in other words, you will compare and contrast.

Make sure you know the basis for comparison

The assignment sheet may say exactly what you need to compare, or it may ask you to come up with a basis for comparison yourself.

• Provided by the essay question: The essay question may ask that you consider the figure of the gentleman in Charles Dickens’s Great Expectations and Anne Brontë’s The Tenant of Wildfell Hall . The basis for comparison will be the figure of the gentleman.
• Developed by you: The question may simply ask that you compare the two novels. If so, you will need to develop a basis for comparison, that is, a theme, concern, or device common to both works from which you can draw similarities and differences.

Develop a list of similarities and differences

Once you know your basis for comparison, think critically about the similarities and differences between the items you are comparing, and compile a list of them.

For example, you might decide that in Great Expectations , being a true gentleman is not a matter of manners or position but morality, whereas in The Tenant of Wildfell Hall , being a true gentleman is not about luxury and self-indulgence but hard work and productivity.

The list you have generated is not yet your outline for the essay, but it should provide you with enough similarities and differences to construct an initial plan.

Develop a thesis based on the relative weight of similarities and differences

Once you have listed similarities and differences, decide whether the similarities on the whole outweigh the differences or vice versa. Create a thesis statement that reflects their relative weights. A more complex thesis will usually include both similarities and differences. Here are examples of the two main cases:

While Callaghan’s “All the Years of Her Life” and Mistry’s “Of White Hairs and Cricket” both follow the conventions of the coming-of-age narrative, Callaghan’s story adheres more closely to these conventions by allowing its central protagonist to mature. In Mistry’s story, by contrast, no real growth occurs.

Although Darwin and Lamarck came to different conclusions about whether acquired traits can be inherited, they shared the key distinction of recognizing that species evolve over time.

Come up with a structure for your essay

Note that the French and Russian revolutions (A and B) may be dissimilar rather than similar in the way they affected innovation in any of the three areas of technology, military strategy, and administration. To use the alternating method, you just need to have something noteworthy to say about both A and B in each area. Finally, you may certainly include more than three pairs of alternating points: allow the subject matter to determine the number of points you choose to develop in the body of your essay.

When do I use the block method? The block method is particularly useful in the following cases:

• You are unable to find points about A and B that are closely related to each other.
• Your ideas about B build upon or extend your ideas about A.
• You are comparing three or more subjects as opposed to the traditional two.

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Mentor Texts

Writing Comparative Essays: Making Connections to Illuminate Ideas

Breathing new life into a familiar school format, with the help of Times journalism and several winning student essays.

By Katherine Schulten

Our new Mentor Text series spotlights writing from The Times and from our student contests that teenagers can learn from and emulate.

This entry aims to help support those participating in our Third Annual Connections Contest , in which students are invited to take something they are studying in school and show us, via parallels found in a Times article, how it connects to our world today. In other words, we’re asking them to compare ideas in two texts.

For even more on how to help your students make those kinds of connections, please see our related writing unit .

I. Overview

Making connections is a natural part of thinking. We can’t help doing it. If you’re telling a friend about a new song or restaurant or TV show you like, you’ll almost always find yourself saying, “It’s like _________” and referencing something you both know. It’s a simple way of helping your listener get his or her bearings.

Journalists do it too. In fact, it’s one of the main tools of the trade to help explain a new concept or reframe an old one. Here are just a few recent examples:

A science reporter explains the behavior of fossilized marine animals by likening them to humans making conga lines.

A sportswriter describes the current N.B.A. season by framing it in terms of Broadway show tunes.

An Op-Ed contributor compares today’s mainstreaming of contemporary African art to “an urban neighborhood undergoing gentrification.”

Sometimes a journalist will go beyond making a simple analogy and devote a whole piece to an extended comparison between two things. Articles like these are real-world cousins of that classic compare/contrast essay you’ve probably been writing in school since you could first hold a pen.

For example, take a look at how each of the Times articles below focuses on a comparison, weaving back and forth between two things and looking at them from different angles:

Consider a classic sports debate: Jordan vs. James. See how this 2016 piece explores what the two have in common — as well as how they differ.

Or, check out this 2019 piece that argues that “ Friendsgiving Has Become Just as Fraught as Thanksgiving ,” and compares the two to determine which has become “a bigger pain in the wishbone.”

Though written as a list rather than an essay, this fun piece from the Watching section in 2018 contends that “ ‘Die Hard’ Never Died, It Just Turned 30 and Had Cinematic Children ” by comparing the original to heirs like “Speed” and “Home Alone.” Read it to notice how, in just a paragraph per movie, the writer still manages to provide plenty of evidence to make each comparison work.

To find real-world examples that are closer to what you’re asked to do in school, look to Times sections that feature in-depth writing, like the Sunday Review and the Times Magazine . Both often publish pieces that connect some aspect of the past to an event, issue or trend today. For example:

“ What Quakers Can Teach Us About the Politics of Pronouns ” suggests lessons for “today’s egalitarians” by making a link to the 17th-century Quakers, “who also suspected that the rules of grammar stood between them and a society of equals.”

Other recent pieces focus on historical comparisons, including “ Early Motherhood Has Always Been Miserable ,” “ Donald Trump, Meet Your Precursor ” and a satirical video Op-Ed, “ Here’s What Cancel Culture Looked Like in 1283 .”

The 1619 Project , a Times Magazine initiative observing the 400th anniversary of the beginning of American slavery, is an especially rich example of this kind of connection-making. It reframes American history by “placing the consequences of slavery and the contributions of black Americans at the very center of the story we tell ourselves about who we are” — and uses that frame to look at issues including today’s prison system, health care, the wealth gap, the sugar industry and traffic jams in Atlanta.

Now, are all of these pieces structured exactly like that essay you have to write for your English class comparing a contemporary work to “Romeo and Juliet?” Does each have a clear thesis statement in the last line of the first paragraph and three body paragraphs that begin with topic sentences?

Of course not. They were written for an entirely different audience and purpose than the essay you might have to write, and most of them resist easy categorization into a specific “text type.”

But these pieces are full of craft lessons that can make your own writing more artful and interesting. And if you are participating in our annual Connections Contest , the essays we feature below will be especially helpful, since they focus on doing just what you’ll be doing — making a comparison between something you’re studying in school and some event, issue, trend, person, problem or concept in the news today.

First you’ll consider one excellent Times essay that does pretty much exactly what we’re asking you to do.

Next, we’ve supplied examples from over a dozen previous student winners to help guide you through the basic elements of any comparative analysis. Whether you’re writing for our contest or not, we hope you’ll find plenty of strategies to borrow.

II. Looking at Structure Over All: One Times Mentor Text

Take a look at the essay the Times book critic Michiko Kakutani wrote in the first weeks of the Trump administration. Just as many of you will do for our contest, she examines how a classic literary work can take on new significance when considered in light of real-world events.

Whether you agree with her analysis or not, notice how “ Why ‘1984’ Is a 2017 Must-Read ” is structured. You might highlight three categories — places where she’s writing chiefly about “1984”; places where she’s writing chiefly about our world today; and places where the two merge.

Here is how her piece, a Critic’s Notebook essay, begins:

The dystopia described in George Orwell’s nearly 70-year-old novel “1984” suddenly feels all too familiar. A world in which Big Brother (or maybe the National Security Agency) is always listening in, and high-tech devices can eavesdrop in people’s homes. (Hey, Alexa, what’s up?) A world of endless war, where fear and hate are drummed up against foreigners, and movies show boatloads of refugees dying at sea. A world in which the government insists that reality is not “something objective, external, existing in its own right” — but rather, “whatever the Party holds to be truth is truth.”

How does the first line set up the comparison?

How does the writer weave back and forth between today’s world and the world of “1984”? For example, what is she doing the two times she uses parentheses?

After you read the full essay, you might then consider:

Over all, what did you notice about the structure of this piece? How does it emphasize the parallels between the world of “1984” and the world of January 2017?

Is it effective? What is this writer’s thesis? Does she make her case, in your opinion? What specific lines, or points of comparison, do that especially well?

What transitional words and phrases does the writer use to move between her two topics? For example, in the second paragraph she writes “It was a phrase chillingly reminiscent …” as a bridge. What other examples can you find?

How does she sometimes merge her two topics — for example in the phrase “make Oceania great again”?

What else do you notice or admire about this review? What lessons might it have for your writing?

III. Elements of Effective Comparative Analyses: Great Examples From Students

Our Connections Contest asks students to find and analyze parallels, just as Ms. Kakutani does in her essay on Orwell — though she had some 1,200 words to build a case and students participating in our contest have only 450.

But if you look at the examples below from our 2017 and 2018 winners, you’ll see that it’s possible to make a rich connection in just a few paragraphs, and you’ll find plenty of specific strategies to borrow in constructing your own.

Here are some tips, with student examples to illustrate each.

1. Make sure you’re focusing on a manageable theme or idea.

One of the first ways to get on the wrong track in writing a comparative essay is to take on something too big for the scope of the assignment. Say, for example, you’re studying the Industrial Revolution and you realize you can compare it to today’s digital revolution in an array of ways, including worker’s rights, the upheaval of traditional industries and the impact on everyday lives. Where do you even begin?

That’s more or less the problem Alex Iyer, a student winner of our 2018 contest, had after reading “The Odyssey” in class, and noticing connections between the tale of that famous wanderer and today’s global refugee crisis. What can you possibly say in 450 words to connect two enormous topics, both of which have been the subject of innumerable scholarly books?

Notice how this student focuses. Instead of starting with a broad thesis like “We can see many parallels between the themes of ‘The Odyssey’ and our world today,” he looks only at how the Greek concept of xenia echoes today — and does so by examining just one article about Uganda. Below are the first two paragraphs, but we suggest you read the entire essay , paying close attention to how he describes both texts solely through this lens.

Try this: Once you choose a manageable focus, make sure all your details and examples support it.

Example: Alex Iyer, Geneva School of Boerne, San Antonio: Homer’s “The Odyssey” and “ As Rich Nations Close the Door on Refugees, Uganda Welcomes Them ”

In literature, we learned that in Homer’s epic poem “The Odyssey,” Homer uses the tribulations of the hero Odysseus to illustrate the Ancient Grecian custom of xenia. This custom focused on extending hospitality to those who found themselves far from home. As Odysseus navigates the treacherous path back to his own home, he encounters both morally upstanding and malevolent individuals. They range from a charitable princess who offers food and clothing, to an evil Cyclops who attempts to murder the hero and his fellow men. In class, we agreed that Homer employs these contrasting characters to exemplify not only proper, but also poor forms of xenia. For the people of its time, “The Odyssey” cemented the idea that xenia was fundamental for good character, resulting in hospitality becoming ingrained in the fabric of Ancient Grecian society. I saw a parallel to this in a New York Times article called “As Rich Nations Close the Door on Refugees, Uganda Welcomes Them” published on October 28, 2018. Similar to the prevalent custom of xenia in Ancient Greece, Uganda has made hosting refugees a national policy. The country is now occupied by up to 1.25 million refugees, many of whom are fleeing the violent unrest of South Sudan.

2. Introduce and briefly explain the significance of the connection.

We know it’s tempting to resort to a generic statement like, “In this essay I will compare and contrast _________ and _________ to show that …”

Not only is that deadly dull, but if you are participating in our contest, you also don’t want to waste any of your 450 words on a sentence that doesn’t say much.

Consider, instead, four more powerful ways to introduce the two things you’ll be connecting, and show right away how they work together.

Try this: Pose a question or questions that both texts are asking.

Example: Connor Stevens, Sunset High School, Portland, Ore.: Comparing “Fahrenheit 451” by Ray Bradbury and “ How Egypt Crowdsources Censorship ” ( Read the full student essay .)

How can you control ideas? In today’s world, you scroll through feeds, finding any information available: government trade deals, local restaurants, movies, and TV shows. We are in an age where the power to find any fact, answer or piece of information that floats into question is available anywhere. If this privilege was stripped by a bodying government, how would freedom of information change?

Try this: Make a statement that is true for both, and then explain why briefly.

Example: Jack Magner, Flint Hill School, Oakton, Va.: Comparing biological feedback loops and homeostasis with “ After #MeToo, the Ripple Effect ” ( Read the full student essay .)

All it takes is a single action to spark innumerable reactions. In the case of Jessica Bennett’s “After #MeToo, the Ripple Effect,” it is the publishing of a 2017 article in the Times that launches a revolution, changing the treatment and recognition of women for the better. In the case of AP Biology, it is the connection of a ligand to a receptor protein or a drastic change to an organism’s environment that sends millions of signals that protect the organism from harm.

Try this: Explain how or why you’ll look at a classic work through a new lens.

Example: Zaria Roller, Verona Area High School, Wis.: Comparing “Things Fall Apart” by Chinua Achebe and “ The Boys Are Not All Right ” ( Read the full student essay .)

Colonial-age Nigeria and modern day Western society have more in common than one would think. Although the buzz phrase “toxic masculinity” did not exist at the time Chinua Achebe’s “Things Fall Apart” was written, its protagonist, Okonkwo, might as well be the poster boy for it.

Try this: Trace your thinking about how you came to connect the two things. Please note: For this contest, use of the word “I” is not only permitted but also encouraged if it helps you explore your ideas.

Example: Alexa Bolnick, Indian Hills High School, Franklin Lakes, N.J.: “Death of a Salesman” by Arthur Miller and “ A Lack of Respect for the Working Class in America Today ” ( Read the full student essay .)

Last year, reading the play “Death of a Salesman,” I couldn’t understand why salesman Willy Loman refused to accept his son’s desire to perform manual labor for a living. If working on a ranch made him happy, then why couldn’t Willy let his son go.

Example: Isabella Picillo, 17, Oceanside High School: “The Scarlet Letter” and “ Judge Partially Lifts Trump Administration Ban on Refugees ” ( Read the full student essay .)

I stumble upon a New York Times article, “Judge Partially Lifts Trump Administration Ban on Refugees,” that makes me wonder if Hawthorne, the literary genius, is wrong.

3. Use transition words and phrases to pivot between the two works.

When you’re discussing two works in the same piece, you’ll find yourself needing to switch gears regularly. How do you do that gracefully?

Try this: Explore a connection by choosing transition words that emphasize commonality.

Here are some sentences, all from our 2018 winners , with examples of those words in bold:

— “ Similar to the prevalent custom of xenia in Ancient Greece, Uganda has made hosting refugees a national policy.” — “John Steinbeck’s classic novel ‘The Grapes of Wrath,’ which chronicles the struggles of the Joad family during the Great Depression, documents a similar reality.” — “Republican anti-Trump attitudes echo those of their nineteenth century counterparts, such as Carl Schulz, who wrote, ‘Our duty to the country … is … paramount to any duty we may owe to the party.’” — “ Paralleling the same theme, the short story ‘Harrison Bergeron’ by Kurt Vonnegut describes a future in which absolute equality has become the obsession of society.” — “This phenomenon mirrors that of negative feedback loops in biology, in which a stimulus triggers a biological response designed to keep a biological system at equilibrium.”

4. Acknowledge important contrasts between the two things you are connecting.

Part of comparing two things is contrasting them — showing where the commonalities end and explaining why the differences are significant.

But your essay shouldn’t just be a list of all the things the two texts have in common vs. all the things they don’t. Instead, you need to use the contrasts to acknowledge obvious differences, but still further your point about how and why the two ideas work together.

For example, the article comparing LeBron James and Michael Jordan makes the crucial distinction that they played in different eras — and thus it’s hard to compare them since we remember Jordan through “rose-colored” memories, while James, playing today, is considered by many “the most scrutinized and criticized American athlete, much of the naysaying unwarranted and aggravated by the polarizing effects of social media” that didn’t exist in Jordan’s heyday.

Keep in mind that since our contest emphasizes connections, not all of our previous winners have done this — but those who did only strengthened their cases.

Try this: Point out that surface differences are less important than the underlying message.

Example: Megan Lee, West Windsor Plainsboro High School North, Plainsboro, N.J.: “Harrison Bergeron” by Kurt Vonnegut and “ The Curse of Affirmative Action ” ( Read the full student essay .)

Although the “Harrison Bergeron” is a heavily exaggerated piece of fiction writing while “The Curse of Affirmative Action” was written to denounce a real world policy, both allude to the delicacy of equality.

Try this: Use a contrast to illuminate a bigger point — in this case that the ways in which the #MeToo movement is different than a biological feedback loop is also what makes it so “revolutionary.”

Example: Jack Magner, Flint Hill School, Oakton, Va.: Biological feedback loops and homeostasis and “ After #MeToo, the Ripple Effect ” ( Read the full student essay .)

#MeToo and feedback loops are extremely interconnected, but there is one key difference in the #MeToo movement that makes it so dynamic and revolutionary. In biology, feedback responses are developed slowly and organically over millions of years of evolution. Environments select for these responses, and a species’s fitness increases as a result. The #MeToo movement is the exact opposite, attacking the perceived natural order that our environment has selected for at the expense the “fittest” members of society: powerful men. This positive feedback loop does not run in concurrence with the already-established negative feedback loop. It instead serves as its foil, aiming to topple the destructive systems for which hyper-masculine society has selected for over thousands of years.

5. End in a way that sums up and says something new.

We could repeat this piece of advice in every edition of our Mentor Text series regardless of genre: No matter what you’re writing about, don’t waste your conclusion by just lazily restating what you’ve already said.

Instead, keep your readers thinking. Pose a new question, use a fresh quote that sums up your main idea, give some surprising new information, or tell a fitting final story.

In other words, no “In conclusion, I have shown how _________ and _________ have many similarities and many differences.”

Instead you could …

Try this: Draw a final lesson, takeaway or “moral” that the two together express.

Example: Samantha Jones, 16, Concord Carlisle Regional High School: “Walden” and “ Dropping Out of College Into Life ” ( Read the full student essay .)

The moral is clear: there are gaps in our education system, and because of these gaps students aren’t adequately prepared for their own futures. In his book Walden, Thoreau elaborates on the ideas Stauffer touches on in her article. As stated before, he believed learning through experience was exponentially better than a in classroom. When a rigid curriculum with expectations is set in place, students aren’t given the same hands on learning as they would be without one. Just as Stauffer embraced this learning style in the New School, Thoreau did so in Walden Woods …

Example: Robert McCoy, Whippany Park High School, Whippany, N.J.: Gilded Age Mugwumps and “ Republicans for Democrats ” ( Read the full student essay .)

The parallels in the Mugwump and Never Trump movements demonstrate the significance of adhering to a strict moral standard, despite extreme partisan divides …

Try this: Raise a new question or idea suggested by the comparison.

In this essay, Sebastian Zagler compares the ways that both a famous mathematical problem and the issue of climate change will require new innovation and collaboration to solve. But he ends the essay by engaging a new, related question: Why would anyone want to take on such “impossible problems” in the first place?

Example: Sebastian Zagler, John T. Hoggard High School, Wilmington, N.C.: the Collatz, or 3n+1, conjecture, a mathematical problem that has produced no mathematical proof for over 80 years, and “ Stopping Climate Change Is Hopeless. Let’s Do It. ” ( Read the full student essay .)

What draws mankind to these impossible problems, whether it be solving the Collatz conjecture or reversing climate change? Fighting for a common cause brings people together, making them part of something greater. Even fighting a “long defeat” can give one a sense of purpose — a sense of belonging …

Try this: End with an apt quote that applies to both.

Here are Sebastian Zagler’s last two lines:

There is a beauty in fighting a losing battle, as long as a glimmer of hope remains. And as Schendler and Jones write, “If the human species specializes in one thing, it’s taking on the impossible.”

And here are Samantha Jones’s:

For that is all Walden really is; Thoreau learning from nature by immersing himself in it, instead of seeing it on the pages of a book. A quote from Walden most fitting is as follows, “We boast of our system of education, but why stop at schoolmasters and schoolhouses? We are all schoolmasters, and our schoolhouse is the universe”

In both cases, the quotes are inspiring, hopeful and get at truths their essays worked hard to demonstrate.

Additional Resources

In our description of Unit 3 of our writing curriculum you can find much, much more, including related writing prompts and a series of lesson plans that can help teachers teach with our Connections Contest.

Instructor Resources

Comparative essay.

Compare two or more literary works that we have studied in this class. Your comparative essay should not only compare but also contrast the literary texts, addressing the similarities and differences found within the texts.

Step 1: Identify the Basis for Comparison

Identify the basis of comparison. In other words, what aspect of the literature will you compare? (Theme, tone, point of view, setting, language, etc.)

Step 2: Create a List of Similarities and Differences

Carefully examine the literary texts for similarities and difference using the criteria you identified in step 1.

Step 3: Write a Thesis Statement

A thesis statement is the author’s educated opinion that can be defended. For a comparative essay, your thesis statement should assert why the similarities and differences between the literary works matter.

Step 4: Create a Structure

Before drafting, create an outline. Your introduction should draw the reader in and provide the thesis statement. The supporting paragraphs should begin with a topic sentence that supports your thesis statement; each topic sentence should then be supported with textual evidence. The conclusion should summarize the essay and prompt the reader to continue thinking about the topic.

Word Count: approximately 1500 words

Outside Sources needed: none (but use plenty of textual evidence)

• Comparative Essay. License : CC0: No Rights Reserved

Comparative Essays

Writing a comparison usually requires that you assess the similarities and differences between two or more theories, procedures, or processes. You explain to your reader what insights can be gained from the comparison, or judge whether one thing is better than another according to established criteria.

How to Write a Comparative Essay

1. Establish a basis of comparison 

A basis of comparison represents the main idea, category, or theme you will investigate. You will have to do some preliminary reading, likely using your course materials, to get an idea of what kind of criteria you will use to assess whatever you are comparing. A basis of comparison must apply to all items you are comparing, but the details will be different. 

For example, if you are asked to “compare neoclassical architecture and gothic architecture,” you could compare the influence of social context on the two styles.  

2. Gather the details of whatever you are comparing 

Once you have decided what theme or idea you are investigating, you will need to gather details of whatever you are comparing, especially in terms of similarities and differences. Doing so allows you to see which criteria you should use in your comparison, if not specified by your professor or instructor. 

• Appeal to Greek perfection
• Formulaic and mathematical
• Appeal to emotion
• Towers and spires
• Wild and rustic
• Civic buildings

Based on this information, you could focus on how ornamentation and design principles reveal prevailing intellectual thought about architecture in the respective eras and societies.

3. Develop a thesis statement 

After brainstorming, try to develop a thesis statement that identifies the results of your comparison. Here is an example of a fairly common thesis statement structure: 

e.g., Although neoclassical architecture and gothic architecture have [similar characteristics A and B], they reveal profound differences in their interpretation of [C, D, and E]. 

4. Organize your comparison  

You have a choice of two basic methods for organizing a comparative essay: the point-by-point method or the block method.  

The point-by-point method examines one aspect of comparison in each paragraph and usually alternates back and forth between the two objects, texts, or ideas being compared. This method allows you to emphasize points of similarity and of difference as you proceed. 

In the block method, however, you say everything you need to say about one thing, then do the same thing with the other. This method works best if you want readers to understand and agree with the advantages of something you are proposing, such as introducing a new process or theory by showing how it compares to something more traditional.

Sample Outlines for Comparative Essays on Neoclassical and Gothic Architecture 

Building a point-by-point essay.

Using the point-by-point method in a comparative essay allows you to draw direct comparisons and produce a more tightly integrated essay.

1. Introduction

• Introductory material
• Thesis: Although neoclassical and gothic architecture are both western European forms that are exemplified in civic buildings and churches, they nonetheless reveal through different structural design and ornamentation, the different intellectual principles of the two societies that created them.

2. Body Sections/Paragraphs

• Ornamentation in Text 1
• Ornamentation in Text 2
• Major appeal in Text 1
• Major appeal in Text 2
• Style in Text 1
• Style in Text 2

3. Conclusion

• Why this comparison is important?
• What does this comparison tell readers?

Building a Block Method Essay

Using the block method in a comparative essay can help ensure that the ideas in the second block build upon or extend ideas presented in the first block. It works well if you have three or more major areas of comparison instead of two (for example, if you added in a third or fourth style of architecture, the block method would be easier to organize).

• Thesis: The neoclassical style of architecture was a conscious rejection of the gothic style that had dominated in France at the end of the middle ages; it represented a desire to return to the classical ideals of Greece and Rome.
• History and development
• Change from earlier form
• Social context of new form
• What does the comparison reveal about architectural development?
• Why is this comparison important?

Comparative Literature Essay

When you hear the words comparative and literature in one sentence, what do you mostly think about? Do words comparing two or more literary works come to mind? What about if you add the word essay to the mix? Do you think it means comparing two or more literary works from different points of views and writing it down in the form of an essay and stating your opinion about it? If you ask yourself these types of questions and want to know the answers, why don’t you check this one out?

3+ Comparative Literature Essay Examples

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The Definition for Comparative

Defining the term comparative, this means to compare two or more things with each other. Compare, to consider the difference, to connect two things to each other.

The Description for Comparative Literature

This essay gives the writer the task to compare two or more literary works from the same writer. To compare the arguments, theories, events and the plot from different people’s points of view. Typically a comparative literary essay asks you to write and compare different literary genres and add your opinion about it. Of course this takes extensive research on the part of the writer as well.

Use of Comparative Literature

The use of a comparative literature essay for either a job, for education or for a journal is to expound on comparing two or more literary works and give out your explanation for the works you choose to talk about. More often than not, these types of literary essays are translated from different languages to the language you speak. It is also quite difficult to compare two literary works being criticized by different writers. This uses more analytical techniques than most essays.

Tips to Write a Good Comparative Literature Essay

As this is a type of essay that deals with comparing more than two literary genres and stories together, it may come off as difficult. But that issue has a solution as well. Here are some tips to help you write out a good comparative literature essay either for your class, a journal or for your job. This type of essay can also be helpful in practicing your comparing skills.

• Choose two topics: As this is to compare two or more literary pieces, choose the topic. Also choose two different people who are talking about the topic you choose.
• Do Research: Continuing from the first tip, do your research on each of the writer’s point of view . What do they think about the topic they wrote about? Who are you going to agree and disagree on? Your research will also help you make your own choice and write about it.
• Weigh each compared text as equal as possible: You may choose a side when writing this but also as you are comparing, weigh each subtopic you found in your research as equal as possible. Give a few opinions here and there but stick to the researched facts as well as focusing on the similarities of the two articles and their differences.  
• Watch out for grammatical errors, misspelled words and incorrect punctuations: Just like any other essay you write, watch your spelling and grammar. Put the correct punctuations in the right place.
• Revision is key: Once you are done, revise anything that needs to be revised. Check everything if you have the right information in place.

How many topics do I need to compare?

Choose one literary writing. Do some research on what other writers say about the literary writing you chose and compare what they have written.

How many paragraphs do I need to write this type of essay?

3 full paragraphs. The first would be your introduction to the topic you are going to be comparing to, the second which is the body consists of weighing each of the text, comparing and contrast. The last paragraph is your conclusion.

Should I cite some of the research that I did on my essay?

Whether you are using the quotation of the writers you searched for, always cite where you seen it, and the date. This is to avoid plagiarism.

How many words does this essay take?

60,000 and 75,000 if you are making more than one essay.

This type of essay can be tricky compared to the rest of the essays. But with extensive research and practice, you are sure to write and compare the same way as most professionals are able to do. Good Luck!

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A comparative essay is a writing task that requires you to compare two or more items. You may be asked to compare two or more literary works, theories, arguments or historical events. In literature, a comparative essay typically asks you to write an essay comparing two works by the same writer. For example, you may be asked to write a comparative essay comparing two plays written by William Shakespeare.

Although an essay may simply state to compare two literary texts, the assumption is that you should contrast the texts as well. In other words, your comparative essay should not only compare but also contrast the literary texts, it should address the similarities and differences found within the texts.

Identify the Basis for Comparison

In writing your comparative essay, you should first identify the basis for the comparison. The basis of comparison allows you to look for the similarities and differences between the two texts. You might be provided with an essay question or you might have to come up with your own topic. In either case you need to begin by identifying the basis for your comparison. For example, an essay question might ask you to compare the representation of women in Jane Austen's “Sense and Sensibility” and in Ernest Hemingway's “For Whom the Bell Tolls.” In this example, the basis for comparison is the representation of women. If the directions only ask you to compare two literary works then you will need to develop your own basis for comparison. For example, a basis for comparison may be representations of women or minorities or theme, mood, tension or any other literary element that is appears in both texts.

Develop a List of Similarities and Differences

After you identify your basis for comparison, you should examine the literary texts for similarities and differences. The similarity and differences should focus on the basis of comparison. For example, you might conclude that in “Sense and Sensibility” women appear strong willed and confident, while in “For Whom the Bell Tolls,” women appear weak willed and two-dimensional. You will use these observations, along with your list of similarities and differences, to construct your thesis statement and an outline for your comparative essay.

Develop a Thesis Statement and Structure

Once you have compiled a list of similarities and differences and decided what you want to focus on, you should then develop your thesis statement. A thesis statement is the essay’s main argument, and it should reflect the relative significance of each similarity and difference. A good thesis statement will typically include both similarities and differences and take a certain position about which is more important. The structure of your comparative paper should consist of an introductory paragraph, with a thesis statement at the end, a number of supporting paragraphs and a conclusion. The purpose of the supporting paragraphs is to support your thesis statement. You may group them as you say fit. For instance, you might discuss one literary work at a time or focus first on the similarities between the works and then on the differences. Always end your essay with a concluding paragraph that summarizes the information in the essay.

• University of Toronto: The Comparative Essay; Vikki Visvis and Jerry Plotnick

Kate Prudchenko has been a writer and editor for five years, publishing peer-reviewed articles, essays, and book chapters in a variety of publications including Immersive Environments: Future Trends in Education and Contemporary Literary Review India. She has a BA and MS in Mathematics, MA in English/Writing, and is completing a PhD in Education.

What Are the Main Points Used to Write a Comparison Essay?

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• 1 What Are the Main Points Used to Write a Comparison Essay?
• 2 Compare & Contrast Essay Structure
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• 4 How to Write an Essay Comparing Two Movies

How to Compare Two Novels in Comparative Essay

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At some point in your literature studies, probably just about the time you get really good at finding the theme of a novel and coming up with a sound analysis of a single literary piece, you will be required to compare two novels.

Your first task in this assignment will be to develop a good profile of both novels. You can do this by making a few simple lists of traits that might be comparable. For each novel, identify a list of characters and their roles in the story or important characteristics, and any important struggles, time periods, or major symbols (like an element of nature).

You may also attempt to come up with book themes that could be comparable. Sample themes would include:

• Man versus nature (is each main character battling the elements?)
• Individual versus society (does each main character feel like an outsider?)
• Struggle between good and evil (are your characters involved in good v. evil scenarios?)
• Coming of age (do the main characters experience a tough lesson that makes them grow?)

Your assignment will most likely give you direction as to whether you should find specific characters, story characteristics, or overall themes to compare. If it is not that specific, don't worry! You actually have a little more leeway.

Comparing Two Novel Themes

The teacher's goal when assigning this paper is to encourage you to think and analyze. You no longer read for a surface understanding of what happens in a novel; you are reading to understand why things happen and what the deeper meaning behind a character is a setting or an event. In short, you are expected to come up with an interesting comparative analysis.

As an example of comparing novel themes, we will look at The Adventures of Huckleberry Finn and The Red Badge of Courage . Both of these novels contain a "coming of age" theme since both have characters who grow a new awareness through tough lessons. Some comparisons you could make:

• Both characters have to explore the notion of "civilized behavior" in the societies where they exist.
• Each main character has to question the behavior of his male role models and his male peers.
• Each main character leaves his childhood home and encounters challenges.

To craft an essay about these two novels and their similar themes, you would create your own list of similarities like those above, using a list, chart, or a Venn diagram .

Sum up your overall theory about how these themes are comparable to create your thesis statement . Here is an example:​ "Both characters, Huck Finn and Henry Fleming, embark on a journey of discovery, and each boy finds new understanding when it comes to traditional notions about honor and courage."

You will use your common characteristic list to guide you as you create body paragraphs .

Comparing Main Characters in Novels

If your assignment is to compare the characters of these novels, you would make a list or Venn diagram to make more comparisons:

• Both characters are young men
• Both question society's notion of honor
• Both witness behavior that makes them question their role models
• Both have a nurturing female influence
• Both question their former beliefs

Comparing two novels is not as difficult as it sounds at first. Once you generate a list of traits, you can easily see an outline emerging.

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Comparative Literature

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Harvard’s Department of Comparative Literature is one of the most dynamic and diverse in the country. Its impressive faculty has included such scholars as Harry Levine, Claudio Guillén, and Barbara Johnson. You will study literatures from a wide range of historical periods and cultures while learning to conduct cutting-edge research through an exhilarating scope of methods and approaches.

Your dissertation research is well supported by Harvard’s unparalleled library system, the largest university collection in the world, comprising 70 libraries with combined holdings of over 16 million items.

Recent student dissertations include “Imagined Mothers: The Construction of Italy, Ancient Greece, and Anglo-American Hegemony,” “The Untimely Avant-Garde: Literature, Politics and Transculturation in the Sinosphere (1909-2020),” and “Artificial Humanities: A Literary Perspective on Creating and Enhancing Humans from Pygmalion to Cyborgs.”

In addition to securing faculty positions at academic institutions such as Princeton University, Emory University, and Tufts University, graduates have gone on to careers in contiguous fields including the visual arts, music, anthropology, philosophy, and medicine.  Others have chosen alternative careers in film production, administration, journalism, and law.

 Additional information on the graduate program is available from the Department of Comparative Literature and requirements for the degree are detailed in Policies .

Admissions Requirements

Please review admissions requirements and other information before applying. You can find degree program-specific admissions requirements below and access additional guidance on applying from the Department of Comparative Literature .

Writing Sample

The writing sample is supposed to demonstrate your ability to engage in literary criticism and/or theory. It can be a paper written for a course or a section of a senior thesis or essay. It is usually between 10 and 20 pages. Do not send longer papers with instructions to read an excerpt; you should edit the sample so that it is not more than 20 pages. Writing samples should be in English, although candidates are permitted to submit an additional writing sample written in a different language.

Statement of Purpose

The statement of purpose should give the admissions committee a clear sense of your individual interests and strengths. Applicants are not required to indicate a precise field of specialization, but it is helpful to tell us about your aspirations and how the Department of Comparative Literature might help in attaining these goals. The statement of purpose should be one to four pages in length.

Standardized Tests

GRE General: Not Accepted

Theses & Dissertations

Theses & Dissertations for Comparative Literature

See list of Comparative Literature faculty

APPLICATION DEADLINE

Questions about the program.

Comparative Essay

How to Write a Comparative Essay – A Complete Guide

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Comparative essay is a common assignment for school and college students. Many students are not aware of the complexities of crafting a strong comparative essay. 

If you too are struggling with this, don't worry!

In this blog, you will get a complete writing guide for comparative essay writing. From structuring formats to creative topics, this guide has it all.

So, keep reading!

• 1. What is a Comparative Essay?
• 2. Comparative Essay Structure
• 3. How to Start a Comparative Essay?
• 4. How to Write a Comparative Essay?
• 5. Comparative Essay Examples
• 6. Comparative Essay Topics
• 7. Tips for Writing A Good Comparative Essay
• 8. Transition Words For Comparative Essays

What is a Comparative Essay?

A comparative essay is a type of essay in which an essay writer compares at least two or more items. The author compares two subjects with the same relation in terms of similarities and differences depending on the assignment.

The main purpose of the comparative essay is to:

• Highlight the similarities and differences in a systematic manner.
• Provide great clarity of the subject to the readers.
• Analyze two things and describe their advantages and drawbacks.

A comparative essay is also known as compare and contrast essay or a comparison essay. It analyzes two subjects by either comparing them, contrasting them, or both. The Venn diagram is the best tool for writing a paper about the comparison between two subjects.  

Moreover, a comparative analysis essay discusses the similarities and differences of themes, items, events, views, places, concepts, etc. For example, you can compare two different novels (e.g., The Adventures of Huckleberry Finn and The Red Badge of Courage).

However, a comparative essay is not limited to specific topics. It covers almost every topic or subject with some relation.

Comparative Essay Structure

A good comparative essay is based on how well you structure your essay. It helps the reader to understand your essay better. 

The structure is more important than what you write. This is because it is necessary to organize your essay so that the reader can easily go through the comparisons made in an essay.

The following are the two main methods in which you can organize your comparative essay.

Point-by-Point Method 

The point-by-point or alternating method provides a detailed overview of the items that you are comparing. In this method, organize items in terms of similarities and differences.

This method makes the writing phase easy for the writer to handle two completely different essay subjects. It is highly recommended where some depth and detail are required.

Below given is the structure of the point-by-point method. 

Block Method 

The block method is the easiest as compared to the point-by-point method. In this method, you divide the information in terms of parameters. It means that the first paragraph compares the first subject and all their items, then the second one compares the second, and so on.

However, make sure that you write the subject in the same order. This method is best for lengthy essays and complicated subjects.

Here is the structure of the block method. 

Therefore, keep these methods in mind and choose the one according to the chosen subject.

Mixed Paragraphs Method

In this method, one paragraph explains one aspect of the subject. As a writer, you will handle one point at a time and one by one. This method is quite beneficial as it allows you to give equal weightage to each subject and help the readers identify the point of comparison easily.

How to Start a Comparative Essay?

Here, we have gathered some steps that you should follow to start a well-written comparative essay.  

Choose a Topic

The foremost step in writing a comparative essay is to choose a suitable topic.

Choose a topic or theme that is interesting to write about and appeals to the reader. 

An interesting essay topic motivates the reader to know about the subject. Also, try to avoid complicated topics for your comparative essay. 

Develop a List of Similarities and Differences 

Create a list of similarities and differences between two subjects that you want to include in the essay. Moreover, this list helps you decide the basis of your comparison by constructing your initial plan. 

Evaluate the list and establish your argument and thesis statement .

Establish the Basis for Comparison 

The basis for comparison is the ground for you to compare the subjects. In most cases, it is assigned to you, so check your assignment or prompt.

Furthermore, the main goal of the comparison essay is to inform the reader of something interesting. It means that your subject must be unique to make your argument interesting.  

Do the Research 

In this step, you have to gather information for your subject. If your comparative essay is about social issues, historical events, or science-related topics, you must do in-depth research.    

However, make sure that you gather data from credible sources and cite them properly in the essay.

Create an Outline

An essay outline serves as a roadmap for your essay, organizing key elements into a structured format.

With your topic, list of comparisons, basis for comparison, and research in hand, the next step is to create a comprehensive outline. 

Here is a standard comparative essay outline:

How to Write a Comparative Essay?

Now that you have the basic information organized in an outline, you can get started on the writing process. 

Here are the essential parts of a comparative essay: 

Comparative Essay Introduction 

Start off by grabbing your reader's attention in the introduction . Use something catchy, like a quote, question, or interesting fact about your subjects. 

Then, give a quick background so your reader knows what's going on. 

The most important part is your thesis statement, where you state the main argument , the basis for comparison, and why the comparison is significant.

This is what a typical thesis statement for a comparative essay looks like:

Comparative Essay Body Paragraphs 

The body paragraphs are where you really get into the details of your subjects. Each paragraph should focus on one thing you're comparing.

Start by talking about the first point of comparison. Then, go on to the next points. Make sure to talk about two to three differences to give a good picture.

After that, switch gears and talk about the things they have in common. Just like you discussed three differences, try to cover three similarities. 

This way, your essay stays balanced and fair. This approach helps your reader understand both the ways your subjects are different and the ways they are similar. Keep it simple and clear for a strong essay.

Comparative Essay Conclusion

In your conclusion , bring together the key insights from your analysis to create a strong and impactful closing.

Consider the broader context or implications of the subjects' differences and similarities. What do these insights reveal about the broader themes or ideas you're exploring?

Discuss the broader implications of these findings and restate your thesis. Avoid introducing new information and end with a thought-provoking statement that leaves a lasting impression.

Below is the detailed comparative essay template format for you to understand better.

Comparative Essay Format

Comparative Essay Examples

Have a look at these comparative essay examples pdf to get an idea of the perfect essay.

Comparative Essay on Summer and Winter

Comparative Essay on Books vs. Movies

Comparative Essay Sample

Comparative Essay Thesis Example

Comparative Essay on Football vs Cricket

Comparative Essay on Pet and Wild Animals

Comparative Essay Topics

Comparative essay topics are not very difficult or complex. Check this list of essay topics and pick the one that you want to write about.

• How do education and employment compare?
• Living in a big city or staying in a village.
• The school principal or college dean.
• New Year vs. Christmas celebration.
• Dried Fruit vs. Fresh. Which is better?
• Similarities between philosophy and religion.
• British colonization and Spanish colonization.
• Nuclear power for peace or war?
• Bacteria or viruses.
• Fast food vs. homemade food.

Tips for Writing A Good Comparative Essay

Writing a compelling comparative essay requires thoughtful consideration and strategic planning. Here are some valuable tips to enhance the quality of your comparative essay:

• Clearly define what you're comparing, like themes or characters.
• Plan your essay structure using methods like point-by-point or block paragraphs.
• Craft an introduction that introduces subjects and states your purpose.
• Ensure an equal discussion of both similarities and differences.
• Use linking words for seamless transitions between paragraphs.
• Gather credible information for depth and authenticity.
• Use clear and simple language, avoiding unnecessary jargon.
• Dedicate each paragraph to a specific point of comparison.
• Summarize key points, restate the thesis, and emphasize significance.
• Thoroughly check for clarity, coherence, and correct any errors.

Transition Words For Comparative Essays

Transition words are crucial for guiding your reader through the comparative analysis. They help establish connections between ideas and ensure a smooth flow in your essay. 

Here are some transition words and phrases to improve the flow of your comparative essay:

Transition Words for Similarities

• Correspondingly
• In the same vein
• In like manner
• In a similar fashion
• In tandem with

Transition Words for Differences

• On the contrary
• In contrast
• Nevertheless
• In spite of
• Notwithstanding
• On the flip side
• In contradistinction

Check out this blog listing more transition words that you can use to enhance your essay’s coherence!

In conclusion, now that you have the important steps and helpful tips to write a good comparative essay, you can start working on your own essay. 

However, if you find it tough to begin, you can always hire our professional essay writing service . 

Our skilled writers can handle any type of essay or assignment you need. So, don't wait—place your order now and make your academic journey easier!

Frequently Asked Question

How long is a comparative essay.

A comparative essay is 4-5 pages long, but it depends on your chosen idea and topic.

How do you end a comparative essay?

Here are some tips that will help you to end the comparative essay.

• Restate the thesis statement
• Wrap up the entire essay
• Highlight the main points

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4.1: Introduction to Comparison and Contrast Essay

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The key to a good compare-and-contrast essay is to choose two or more subjects that connect in a meaningful way. Comparison and contrast is simply telling how two things are alike or different. The compare-and-contrast essay starts with a thesis that clearly states the two subjects that are to be compared, contrasted, or both. The thesis should focus on comparing, contrasting, or both.

Key Elements of the Compare and Contrast:

• A compare-and-contrast essay analyzes two subjects by either comparing them, contrasting them, or both.
• The purpose of writing a comparison or contrast essay is not to state the obvious but rather to illuminate subtle differences or unexpected similarities between two subjects.
• The thesis should clearly state the subjects that are to be compared, contrasted, or both, and it should state what is to be learned from doing so.
• Organize by the subjects themselves, one then the other.
• Organize by individual points, in which you discuss each subject in relation to each point.
• Use phrases of comparison or phrases of contrast to signal to readers how exactly the two subjects are being analyzed.

Objectives: By the end of this unit, you will be able to

• Identify compare & contrast relationships in model essays
• Construct clearly formulated thesis statements that show compare & contrast relationships
• Use pre-writing techniques to brainstorm and organize ideas showing a comparison and/or contrast
• Construct an outline for a five-paragraph compare & contrast essay
• Write a five-paragraph compare & contrast essay
• Use a variety of vocabulary and language structures that express compare & contrast essay relationships

Example Thesis: Organic vegetables may cost more than those that are conventionally grown, but when put to the test, they are definitely worth every extra penny.

Sample Paragraph:

Organic grown tomatoes purchased at the farmers’ market are very different from tomatoes that are grown conventionally. To begin with, although tomatoes from both sources will mostly be red, the tomatoes at the farmers’ market are a brighter red than those at a grocery store. That doesn’t mean they are shinier—in fact, grocery store tomatoes are often shinier since they have been waxed. You are likely to see great size variation in tomatoes at the farmers’ market, with tomatoes ranging from only a couple of inches across to eight inches across. By contrast, the tomatoes in a grocery store will be fairly uniform in size. All the visual differences are interesting, but the most important difference is the taste. The farmers’ market tomatoes will be bursting with flavor from ripening on the vine in their own time. However, the grocery store tomatoes are often close to being flavorless. In conclusion, the differences in organic and conventionally grown tomatoes are obvious in color, size and taste.

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Comparing the Literatures: Contemporary Perspectives — Introduction

Comparative literature — besides being the name of an academic discipline, field of research, and study program in institutions of higher education — stands for a great tradition of the humanities. Since its beginning around 1800, it serves as a ground for significant enterprises of literary studies in academic frameworks in Europe, North and South America, the Near and the Far East. This field involves classical philology and esthetics, critical theory, semiotics and narratology, translation studies, post-colonial theory, exile and migration studies, gender and queer theories, the visual arts, and eco-poetics, to name a few. It also reflects core questions regarding the experience (and the representation) of the world. Comparative literature serves also as a cultural paradigm, associated with multilingualism and cultural diversity, yet not free from blind spots — Western universalism, Eurocentrism, orientalist views, heteronormative assumptions. Its “death” as a discipline was announced a while ago — its “rebirth,” too. The very idea of comparison — the association of different case studies from the literatures of the world — continues, however, to challenge our research and teaching. Following David Damrosch’s book, “Comparing the Literatures: Literary Studies in a Global Age,” we (Amir Eshel, Galili Shahar, and Vered Shemtov) invited colleagues and graduate students from our programs of comparative literature at Stanford University and at Tel Aviv University to reflect on the core issues of our field: its origins and histories, current questions, multi-perspectives and methods, and its contemporary implications in our institutions in North America and in Israel/Palestine. The essays thus reflect not just “case studies” in comparative literature but also the effort of saving the local — in a global age.

This effort, too, was associated with Damrosch’s book. Reflecting, however, on its origins, Damrosch recounts a dazzling trick. In one of his previous books, Meetings of the Mind , Damrosch invented three interlocutors: the Israeli semiotician Dov Midrash, the multilingual aesthete Vic d’Ohr Addams, and the feminist film theorist Marsha Doddvic. All three are anagrams of Damrosch’s own name. Each one presents opposing positions he considers and partly accepts. All of them mock “the blandly liberal Damrosch, who thinks he can persuade all the warring parties to get along together.”

Blending the kind of irony we encounter at the turn of the nineteenth century in the work of the German romantics with his panoramic familiarity with the history and practice of comparative literature, Damrosch urges us to do two things at the same time: to acknowledge and respect the infinite diversity of literary production across cultures and locations while we simultaneously strive to discover similarities and moments of formal and thematic conversion. The spirit of Damrosch’s move to both refract any stable notion of comparative literature and to work toward productive engagement and exchange accompanies all contributions to this collection. Any attempt to suggest that all contributors share a single vision of what comparative literature is or should be is bound to dissolve, just as Damrosch discovered, in his own name, his own position, and at least three others captured in the names of Midrash, Addams, and Doddvic. The essays gathered in this special double issue can be addressed as another way of revealing and naming the challenges, contradictions, critiques, and ironies of comparative literature as represented in his book.

Turning to one of the first moments in the history of comparative literature, Nir Evron’s “Herder on Shakespeare, Nominalism, and Obsolescence” revisits Johann Gottfried Herder’s 1773 essay on Shakespeare. Herder’s critical essay is essential for our notion of comparative literature as a discipline, Evron argues, since it both recognizes the consequences of adopting a “culturalist and historicist self-image that it promotes” and models “the nominalist and culturalist outlook” which has been crucial in its history. Herder’s meditation on cultural finitude in Shakespeare, Evron argues, originates in his “insistence that human beings are social and historical creatures” — an insight with far-reaching implications for comparative literature and all other humanistic fields of study.

Casting his gaze at an earlier point of departure for a comparative perspective, Iyad Malouf, in “Medieval Othering: Western Monsters and Eastern Maskhs ,” offers a manifold reading of “medieval Othering” while focusing on the figures of monster and maskh . While monsters had an integral role in defining the non-Christian Other in the West, maskhs , Malouf argues, played a similar role in what came to be known as “the East.” Examining the meaning, function, and interaction of monsters and maskhs in the Middle Ages, the article shows, may contribute to a more nuanced understanding of “medieval Othering,” a practice and a prejudice still operative today in cultural and political discourse across the globe.

Practices of distancing and exclusion are also at the center of Uri S. Cohen and Manar H. Makhoul’s “Political Animals in Palestine-Israel.” Employing the conceptual shift at work in ecocriticism and animal studies regarding “ecology” as a trope of “coexistence,” they examine narratives which touch on the milestone year 1948 in the history of the modern Middle East. The animals of Palestine as they emerge in these narratives, they argue, offer us a glimpse into literature’s capacity to examine the idea of equality: “the equal value of all life, human and animal.” Animals emerge here as a powerful trope in the striving to lend an ear to untold or ignored aspects of 1948 as a historical trauma, to get closer to “the secrets of Palestine and its destruction.” Comparing literary works as they give voice to the language of animals may transcend our pure emotional reaction to the pain of the single sentient creature and open possibilities of genuine listening among the two parties of the Israeli-Palestinian conflict.

The question of nationalism and national conflict is similarly driving Victoria Zurita’s “Remedios in Valinor: Magical Realism, Transnationalisms, and the Historicity of Literary Value.” Zurita confronts here two forms of “transnationalism” — regionalism and cosmopolitanism — as they appear in Damrosch’s Comparing the Literatures . Assessing Damrosch’s arguments on the comparability of magical realism and examining their implications for his book’s larger aims, Zurita probes the assumption of some of the major voices in the “transnational turn,” especially in the field of global modernisms, in their attempt to transcend the specificities of the literary works in question.

Sarah Stoll’s “Kafka’s ‘Gehilfen’ — The Castle in between Nature Theater and Yiddish Theater” turns to one of the major scenes of European modernism, Prague, and to one of this movement’s canonic representatives, Franz Kafka. Focusing on Kafka’s The Castle , Stoll suggests that we read the posthumously published novel as “a theater play in which the protagonist is trying to achieve a role that was never made for him.” K.’s attempt to create his own reality is in Stoll’s reading “the allegory of a minor, that means a revolutionary, writing.” Relating to both world theater and to the Yiddish theater of its time, The Castle reveals itself here as a site of personal and communal struggle with cultural prejudice. Kafka’s diary entries on the Yiddish theater lend Stoll’s comparative interpretation further weight. She displays how prose, drama, and personal narrative grapple with and test the national creed.

Whereas linguistic marginalization characterizes the view of Yiddish in early twentieth century Prague, Michèle Bokobza Kahan’s “The Female Novelists of the Emigration of the French Revolution: Presentation of a Literary Scene” draws our attention to gender as a site of conflict and literary production. Presenting novels of emigration during the French Revolution written by such women as Stéphanie de Genlis, Adélaïde de Souza, Isabelle de Charrière, and Claire de Duras, Kahan focuses on the notion of hospitality. Highlighting the link between emigration and hospitality, she suggests that the writers in question mobilized their literature to pursue professional recognition — to validate and bring about a recognition of their writing choices and practices. Employing Judith Schlanger’s term “literary scene,” Kahan presents the writers and works at the center of her article as helping us to negotiate an interpretative perspective which exceeds the binary of the “local” and the “global.”

Comparative literature’s capacity to examine narrative across geographic location, genre, and even discipline guides Haiyan Lee in “Apples and Oranges? An Idiosyncratic Comparison of Literature and Anthropology.” From her standpoint as a specialist in Chinese literature, she considers the kind of knowledge literary studies produces. Moving between the personal and the theoretical, she suggests that anthropology can provide useful tools in making sense of politically and culturally distant texts in the age of world literature. She illustrates this provocative point by turning to flat characters in traditional Chinese fiction in light of new research in the anthropology of mind. Literary studies, she urges us to consider, should move toward the “new humanities” in order to become relevant to broader constituencies.

The biases of Western thought regarding genre take center stage in Teddy Fassberg’s “Languages of Gods and the Structures of Human Literatures: An Essay in Comparative Poetics.” Fassberg challenges the conventional, reductive notion of literature as comprised of merely two complementary, comprehensive categories: poetry and prose. Probing the validity of this restrictive view as it emerges as early as ancient Greek and Roman thought, Fassberg then demonstrates that the “poetry” versus “prose” dichotomy is nowhere to be found in the neighboring ancient literary cultures of biblical Hebrew and early Islam. Fassberg then proceeds to argue that the manufactured difference between the two genres correlates to Greek and Roman concepts of divinity, specifically the language of their gods. Fassberg furthermore ties his theoretical move to Erich Auerbach’s argument in Mimesis regarding the separation and mixture of styles in antiquity.

In “Rethinking the Dictionary: Holocaust Dictionaries in Global Perspective,” Hannah Pollin-Galay and Betzalel Strauss challenge another restrictive view: the relegation of the dictionary outside of the literary field. Questioning this practice, they urge us in their article to discover in the dictionary a rich locus of literature and of comparative cultural interpretation.

Centering on Holocaust-Yiddish dictionaries, they reveal — in the succinctness of the dictionary entry and in the capaciousness of the dictionary as a cultural endeavor — “ethical, emotional, and even spiritual potency.” Exemplifying the methods of comparative literature, they include in their discussion a broad array of sources, such as the Oxford English Dictionary , an interwar lexicon of Yiddish jargon, the Chinese Erya, and the Hebrew-Arabic Ha-Egron . Their examination leads then to the discovery of a productive tension within the genre: while the dictionary promises to organize and categorize language, it often reveals that which is unknowable in speech and in experience.

The notion of experience also guides Tal Yehezkely in “Airing Literature: Reading with the Sense of Smell.” While comparative literature thus far centers on language in its various iterations, the article urges us to explores forms of reading inspired by “both the sense of smell, and the phenomenon of smell.” The article begins by laying out its theoretical foundation. It formulates a comparative model deriving from the conceptual history of smell and from its attributes as a physical phenomenon. Yehezkely then proceeds to examine the peculiar materiality of smell as part of an atmosphere and the possible implications it might have when we examine what links or separates “literature” and “life.”

Literature’s ability to touch on “life” as a tangible, corporal category guides J. Rafael Balling in “Between Times: The Case of Yiddish Transness.” Balling here examines literature as it challenges normative concepts of gender. His article traces the literary undermining of any stable sense of time and place. Turning to Isaac Bashevis Singer’s short story, “Yentl the Yeshiva Boy” [“Yentl der Yeshive Bokher”], Balling uncovers the narrative’s capacity to suspend medical categorizations of transness. Bashevis Singer’s work is exemplary in this regard, Balling shows, since it mobilizes such rich and diverse sources as Yiddish demons, rabbinic writings, and early-twentieth century sexological accounts of gender variance. “Yentl” emerges in Balling’s reading as a powerful opportunity to overcome prejudice in regard to gender variance. The work invites us to imagine the possibility of accepting the productive intersections of temporal, linguistic, and geographical migrations.

The capacity of literature to imagine realities which far exceed normative modes of individual and communal life informs Adi Molad’s “The Circus Comes to Town: Reading Gershon Shofman’s Hebrew Literature in the Ring.” Through the lens of Gershon Shofman’s work, Molad examines the circus as a liminal space in which corporal, subjective, and communal norms solidify and refract. Since the trope of the traveling circus as a lush amalgamation of the eclectic and the unique is a metaphor for transcending domesticity and nationality, it lends itself to examine this work of Hebrew literature as pursuing “a supranational theme that expresses the worldly in literature.” Focusing on three circus stories by Shofman, Molad shows that physical power does not necessarily translate into national domination or political subjugation. The circus becomes in this article a powerful lens through which we can see how the literary imagination and our attempts to interpret the literary far exceed any limitation of a single national language or a single national creed.

This double issue ends with an essay by Dharshani Lakmali Jayasinghe entitled “When Translating Ultra Minor Literatures is Not Enough to Counter Epistemicide.” Lakmali’s annotated translation of a selection of quatrains by Thotagamuwe Sri Rahula Therato was published previously in Dibur’s Curated magazine. The essay explores “some of the challenges that scholars working on what David Damrosch calls ‘ultra Minor’ literatures from the Global South must contend with, particularly the politics of organizing and compiling bibliographies.”

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Comparative Literature Studies

Founded in 1963, Comparative Literature Studies publishes critical comparative essays on literature, cultural production, the relationship between aesthetics and political thought, and histories and philosophies of form across the world. Articles may also address the transregional and transhistorical circulation of genres and movements across different languages, time periods, and media. CLS welcomes a wide range of approaches to comparative literature, including those that draw on philosophy, history, area studies, Indigenous, race, and ethnic studies, gender and sexuality studies, media studies, and emerging critical projects and methods in the humanities. Each issue of CLS also includes book reviews of significant monographs and collections of scholarship in comparative literature.

CLS is an affiliated journal of the American Comparative Literature Association. With the ACLA, it sponsors the annual A. Owen Aldridge Prize for the Best Essay by a Comparative Literature Graduate Student, and subsequently publishes a revised version of the winning essay.

Recent and forthcoming special topics of  CLS  include “Redesigning Modernities,” “World Communist Poetics,” and “African Literatures and Form.”

Recent honors for the journal include the award of the 2023 Association for the Study of the Worldwide African Diaspora (ASWAD) Article Prize to Jarvis McInnis (Duke) for the essay “A ‘Reorder of Things’ in Black Studies: Sacred Praxis, Phono(geo)graphy, and the Counter-Archive of Diaspora,” published in the special issue “New Critical Directions in Global South Studies, Continuing the Conversation” (59.1; 2022).

CLS is published at The Pennsylvania State University under the auspices of the Department of Comparative Literature . Its ISSN is 0010-4132. Journal contents are indexed in EBSCO Academic Search, Current Abstracts, and Electronic Journals Service; ISI Thomson’s Arts and Humanities Citation Index; ISI MLA Periodicals Directory; JournalSeek; OCLC ArticleFirst; and Ulrich’s Periodicals Directory.

CLS is a member of Project Muse , where full-text versions of articles can be found. You can also reach us at the Pennsylvania State University Press .

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Comparative literature: the early years; an anthology of essays

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• Goethe, J. W. von. Some passages pertaining to the concept of world literature.--Chasles, P. Foreign literature compared.--Shackford, C. C. Comparative literature, 1876.--Meltzl de Lomnitz, H. Present tasks of comparative literature, pts. I and II.--Koch, M. Introduction.--Gayley, C. M. A society of comparative literature,
• 1894. What is comparative literature, 1903.--Texte, J. The comparative history of literature.--Marsh, A. R. The comparative study of literature, 1896.--Betz, L. P. Critical observations on the nature, function, and meaning of comparative literary history.--Brunetière, F. European literature.--Posnett, H. M. The science of comparative literature, 1901.--Woodberry, G. C. Editorial, 1903.--Croce, B. Comparative literature.

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Have you ever wondered how translators and interpreters contribute to…

• literature and scholarship you read for school or for pleasure?
• subtitles, supertitles, and dubbing scripts in your favorite foreign films, TV shows, and live performances?
• governmental negotiations, diplomatic meetings, and military and peacekeeping operations?
• regional and international NGO programs and initiatives?
• legislation and legal proceedings?
• advocacy and activism campaigns?
• art exhibitions in the world’s museums and galleries?
• advertising for linguistically varied local and global markets?
• journalism published and broadcast in numerous languages around the world?
• outcomes in healthcare and scientific investigation?

Translators and interpreters are essential agents in global flows of art, media, research, policy, and commerce. Which is why Global Liberal Studies offers, in partnership with the Department of Comparative Literature , a cross-unit Minor in Translation Studies.

What You Will Learn

Students pursuing the Minor in Translation Studies will learn about translation history, theory, and practice in a cross-cultural, multilingual, and interdisciplinary context. They will gain a deeper understanding of this work that bridges different languages and cultures, and of the dynamics of power and capital that shape how translations are produced, disseminated, and received. They will engage with translation scholars and practitioners, and participate in translation events, while studying in NYC and at the Global Academic Centers.

What You Will Study

The Minor in Translation Studies is a 4-course (16-credit) minor. Courses may be taken in NYC or at the Global Academic Centers. Up to one course may be double-counted for the minor. 

There are three categories of courses:

1. Introductory course (4 credits)

Students will take one of two options for the introductory course:

Global Liberal Studies

Global Topics: Translation across the Disciplines (previously offered in GLS as Global Topics: Introduction to Translation Studies , GT-UF 201-001) explores a range of contexts and practices that have informed translation studies scholarship. To be offered annually in the fall semester.

Comparative Litera ture

Translation Theory: Comparative Approaches and Case Studies introduces students to the key theoretical debates that have shaped the field. To be offered annually beginning in the 2023-24 academic year.

2. An elective GLS or Comparative Literature course focusing on translation theory and/or practice (4 credits).

Students will take at least one course from among the below options.

• Advanced Writing Studio: Performing Translation
• Advanced Writing Studio: Translation and Difference
• Creative Writing Studio
• Global Topics: Indigeneity Today
• Global Topics: Migration, Language, Identity
• Global Topics: The Treasonous Art of Literary Translation
• Global Topics: World Poetry
• Senior Seminar: The Global Go-Between
• Senior Seminar: Multilingualism and Society

Comparative Literature

• Introduction to Comparative Literature: Worlding Comparison
• Comparative Literature Junior Theory Seminar (selected sections; contact the Director of Undergraduate Studies for more information)
• Topics (selected sections; contact the Director of Undergraduate Studies for more information)

3. Eight (8) additional credits drawn EITHER from the above list of GLS and Comparative Literature electives OR from the below list of approved electives offered in collaborating units.

This list will continue to expand as more courses are approved or developed. Please check host department sites or contact Directors of Undergraduate Studies for information about scheduling and prerequisites.

NYU New York, Arts & Science

French literature, thought and culture.

• Advanced Techniques of Translation
• French Translation
• The Work of Translation: What Does Translation Do?
• Techniques of Translation

Hebrew and Judaic Studies

• Bible as Literature
• Modern Hebrew Literature in Translation
• Yiddish in America
• Yiddish Literature in Translation

Middle Eastern and Islamic Studies

• Arabic Translation: Theories & Practices
• Literature and Society in the Middle East
• Middle Eastern Anglophone Literature
• Translation and the Mediterranean

Italian Studies

• Language, Culture, and Identity in Italy
• New Trends in 21st Century Italian Literature
• Translation
• Translingual Writing in Italian

Linguistics

• Language and Society
• Sex, Gender, and Language

Spanish and Portuguese Languages and Literatures

• Advanced Translation Workshop

School of Professional Studies

Students who declare the minor will be eligible to take courses in the MS in Translation & Interpreting program, provided that they meet certain requirements. Please contact Academic Director of Translation & Interpreting Annelise Finegan at [email protected] to learn more.

NYU Abu Dhabi

Literature and creative writing.

• Translation and Colonization

How to begin the minor

Students can begin by registering for one of the many course options listed above. If you’ve already taken one of the above courses prior to the Fall 2022 semester, you may apply it to the minor. Declare your minor and manage your coursework with the Minor in Translation Studies Worksheet .

Assistant Director, Global Academic Engagement Sentienla Toy Threadgill is the GLS academic advisor for the Minor in Translation Studies. Please contact her at [email protected] to learn more.

Translation Nation

Founded in 2019, Translation Nation is the student club for exploring all things translation. We practice different techniques of translation through exercises and projects, and learn about how translators have approached their work–and the cultural, political, and economic conditions informing it–through conversations with guest speakers, and outings to literary readings, lectures, and film screenings. For more information, please contact the club’s faculty advisor, Professor Jennifer Zoble, at [email protected] .