Notes on Contributors |
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ix | |
Preface |
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xiii | |
Acknowledgments |
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xvii | |
Part I: Frameworks and Approaches |
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1 | (62) |
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1 Reading Responsively, Reading Responsibly: An Approach to Critical Reading |
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3 | (21) |
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4 | (2) |
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Responsible Reading, Responsive Reading |
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6 | (1) |
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A Framework for Critical Reading |
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7 | (5) |
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Demonstration-E.B. White on the Moonwalk |
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12 | (5) |
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Application-Lincoln's Gettysburg Address |
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17 | (4) |
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Reflective Reading-Reading and Living |
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21 | (2) |
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23 | (1) |
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2 Reciprocal Acts: Reading and Writing |
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24 | (25) |
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24 | (1) |
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25 | (1) |
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26 | (5) |
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31 | (3) |
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34 | (7) |
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41 | (6) |
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Writing as Representation, Writing as Composition |
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47 | (1) |
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48 | (1) |
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3 A Shared Horizon: Critical Reading and Digital Natives |
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49 | (14) |
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Critically Reading the Digital Native |
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51 | (2) |
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Responding to the Digital Native |
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53 | (2) |
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55 | (1) |
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Devices, Screens, and Digital Native Reading Practices |
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56 | (3) |
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59 | (1) |
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60 | (3) |
Part II: Critical Reading in the Disciplines |
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63 | (176) |
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4 Critical Reading and Thinking: Rhetoric and Reality |
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65 | (20) |
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67 | (3) |
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70 | (1) |
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70 | (1) |
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Demonstration: Annotating a Speech |
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71 | (3) |
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Everything's an Argument: No It's Not! Yes It Is! |
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74 | (3) |
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77 | (4) |
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81 | (1) |
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82 | (1) |
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82 | (3) |
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5 The Community of Literature: Teaching Critical Reading and Creative Reflection |
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85 | (19) |
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85 | (3) |
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Textual Conversations-Critical Dialogue |
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88 | (3) |
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Re-reading and Creative Reflection |
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91 | (2) |
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Demonstration-Hardy's "In a Museum" |
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93 | (2) |
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95 | (1) |
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Application-Middlemarch, Chapter XXIX |
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96 | (3) |
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99 | (3) |
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102 | (1) |
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102 | (2) |
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6 Approaching Intellectual Emancipation: Critical Reading in Art, Art History, and Wikipedia |
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104 | (19) |
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104 | (5) |
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Reading Art: The Visual Analysis |
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109 | (4) |
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Reading Art History: The Annotated Bibliography |
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113 | (6) |
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Reading Wikipedia: The Comparative Analysis |
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119 | (2) |
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121 | (1) |
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121 | (1) |
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122 | (1) |
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7 Teaching Critical Reading of Historical Texts |
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123 | (18) |
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123 | (1) |
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124 | (1) |
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125 | (1) |
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Selecting Historical Documents for Analysis |
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126 | (2) |
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Marking and Preparing Historical Documents |
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128 | (3) |
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Reading Abraham Lincoln's House Resolutions December 22, 1847 |
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131 | (5) |
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Reading Martin Luther King, Jr.'s Speech Opposing the Vietnam War |
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136 | (2) |
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138 | (1) |
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Some Useful Sources for Critical Reading in History |
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139 | (1) |
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140 | (1) |
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8 Philosophy and the Practice of Questioning |
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141 | (17) |
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141 | (1) |
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How Do We Come to Know Anything at All? |
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142 | (7) |
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149 | (6) |
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So What? The Effects of Reading Philosophy Critically |
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155 | (1) |
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156 | (1) |
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157 | (1) |
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9 Engaging Religious Texts |
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158 | (16) |
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158 | (1) |
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Reading as an Embodied and Dialogic Act |
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159 | (2) |
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Insights from the Religions |
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161 | (5) |
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The Three Worlds of Religious Texts |
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166 | (2) |
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Practices for Engaging Religious and Theological Texts |
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168 | (3) |
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171 | (1) |
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172 | (2) |
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10 Gender Studies as a Model for Critical Reading |
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174 | (16) |
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Gender Studies and Critical Reading |
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175 | (2) |
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177 | (1) |
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178 | (2) |
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Staging the Documentary Project |
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180 | (3) |
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Aesthetic Distance and Ironic Images of Gender |
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183 | (2) |
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Melanie Pullen's High Fashion Crime Scenes and Cindy Sherman's Centerfolds, 1981 |
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185 | (4) |
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189 | (1) |
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11 Reading and Teaching Films |
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190 | (20) |
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191 | (1) |
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192 | (2) |
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194 | (3) |
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197 | (2) |
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199 | (2) |
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201 | (2) |
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203 | (2) |
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205 | (1) |
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205 | (1) |
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206 | (3) |
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209 | (1) |
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12 Thinking Through Drama |
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210 | (13) |
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210 | (4) |
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214 | (1) |
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215 | (2) |
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217 | (3) |
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220 | (1) |
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221 | (1) |
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222 | (1) |
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13 Approaches to Reading and Teaching Pop Songs |
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223 | (16) |
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Popular Music and Its Contexts |
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223 | (1) |
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224 | (4) |
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228 | (3) |
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Critical Reading: Theodor Adorno's Criticism of Pop Music |
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231 | (1) |
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232 | (3) |
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Additional Writing Assignments |
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235 | (1) |
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236 | (1) |
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237 | (2) |
Index |
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239 | |