Critical Reading Across the Curriculum: Humanities

262 Pages·2017·4.2 MB·English

by  Robert DiYanni

CriticalReadingAcrosstheCurriculum
Critical Reading Across the Curriculum
Volume1:Humanities
EditedbyRobertDiYanniandAntonBorst
Thiseditionfirstpublished2017
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v
Contents
NotesonContributors ix
Preface xiii
Acknowledgments xvii
PartI FrameworksandApproaches 1
 ReadingResponsively,ReadingResponsibly:AnApproachto
CriticalReading 3
RobertDiYanni
BeingCritical 4
ResponsibleReading,ResponsiveReading 6
AFrameworkforCriticalReading 7
Demonstration–E.B.WhiteontheMoonwalk 12
Application–Lincoln’sGettysburgAddress 17
ReflectiveReading–ReadingandLiving 21
References 23
 ReciprocalActs:ReadingandWriting 24
PatC.HoyII
AStoryofNecessity 24
ActsofConception 25
WorkingfromImages 26
RememberingSpontaneity 31
GettingMoreSystematic 34
MergingWhatandHow 41
WritingasRepresentation,WritingasComposition 47
References 48
vi Contents
 ASharedHorizon:CriticalReadingandDigitalNatives 49
AntonBorst
CriticallyReadingtheDigitalNative 51
RespondingtotheDigitalNative 53
ASharedHorizon 55
Devices,Screens,andDigitalNativeReadingPractices 56
Conclusion 59
References 60
PartII CriticalReadingintheDisciplines 63
 CriticalReadingandThinking:RhetoricandReality 65
LawrenceScanlon
RhetoricalChallenges 67
WaysofReading 70
Logos,Ethos,Pathos 70
Demonstration:AnnotatingaSpeech 71
Everything’sanArgument:NoIt’sNot!YesItIs! 74
ASuiteofExercises 77
Conclusion 81
Notes 82
References 82
 TheCommunityofLiterature:TeachingCriticalReadingandCreative
Reflection 85
AdrianBarlow
WaysofReading 85
TextualConversations–CriticalDialogue 88
Re-readingandCreativeReflection 91
Demonstration–Hardy’s“InaMuseum” 93
BroadeningContext 95
Application–Middlemarch,ChapterXXIX 96
ContemporaryContexts 99
Notes 102
References 102
 ApproachingIntellectualEmancipation:CriticalReadinginArt,Art
History,andWikipedia 104
AmyK.Hamlin
ReconsideringWikipedia 104
ReadingArt:TheVisualAnalysis 109
ReadingArtHistory:TheAnnotatedBibliography 113
Contents vii
ReadingWikipedia:TheComparativeAnalysis 119
ChainReactions 121
Notes 121
References 122
 TeachingCriticalReadingofHistoricalTexts 123
MichaelHogan
BasicMatters 123
ChallengesforTeachers 124
ThreeKindsofReading 125
SelectingHistoricalDocumentsforAnalysis 126
MarkingandPreparingHistoricalDocuments 128
ReadingAbrahamLincoln’sHouseResolutionsDecember22,1847 131
ReadingMartinLutherKing,Jr.’sSpeechOpposingtheVietnamWar 136
Conclusion 138
SomeUsefulSourcesforCriticalReadinginHistory 139
References 140
 PhilosophyandthePracticeofQuestioning 141
MattStatler
QuestioningTowardTruth 141
HowDoWeCometoKnowAnythingatAll? 142
TowardPracticalWisdom 149
SoWhat?TheEffectsofReadingPhilosophyCritically 155
Notes 156
References 157
 EngagingReligiousTexts 158
ThomasPetriano
“PayAttention!” 158
ReadingasanEmbodiedandDialogicAct 159
InsightsfromtheReligions 161
TheThreeWorldsofReligiousTexts 166
PracticesforEngagingReligiousandTheologicalTexts 168
Conclusion 171
References 172
 GenderStudiesasaModelforCriticalReading 174
PamelaBurger
GenderStudiesandCriticalReading 175
DeconstructingGender 177
DocumentaryProject 178
StagingtheDocumentaryProject 180
viii Contents
AestheticDistanceandIronicImagesofGender 183
MelaniePullen’sHighFashionCrimeScenesandCindySherman’s
Centerfolds,1981 185
References 189
 ReadingandTeachingFilms 190
WilliamV.Costanzo
PersonalResponse 191
AnalyzingStory 192
BasicFilmTerms 194
FormalAnalysis 197
GenreAnalysis 199
CulturalAnalysis 201
HistoricalAnalysis 203
RepresentationinFilm 205
FilmTheory 205
Exercises 206
References 209
 ThinkingThroughDrama 210
LouisScheeder
DramaandArgument 210
TheClassicalStudio 214
TheStructureofVerse 215
FollowingtheVerse 217
Exercises 220
Conclusion 221
References 222
 ApproachestoReadingandTeachingPopSongs 223
ThomasM.Kitts
PopularMusicandItsContexts 223
ReadingaPopSong 224
WritingaboutMusic 228
CriticalReading:TheodorAdorno’sCriticismofPopMusic 231
SociallyConsciousMusic 232
AdditionalWritingAssignments 235
Conclusion 236
References 237
Index 239
ix
NotesonContributors
Adrian Barlow is a senior member of Wolfson College, Cambridge, and
president of the English Association. Formerly director of public pro-
grammes at the University of Cambridge Institute of Continuing Educa-
tion,hehastaught,lectured,andwrittenwidelyonteachingliteratureand
therelationshipbetweenpedagogyandassessment.HehaseditedtheCam-
bridgeContextsinLiteratureseries,andhispublicationsincludeWorldand
Time:TeachingLiteratureinContextandExtramural:LiteratureandLife-
longLearning.
AntonBorstisaninstructionalconsultantatNewYorkUniversity’sCen-
terfortheAdvancementofTeaching.Asaspecialistinwritingacrossthe
curriculumanddigitalpedagogy,hepreviouslyworkedinfacultydevelop-
mentatHunterCollegeandMacaulayHonorsCollege.HereceivedaPhD
in English from the Graduate Center of the City University of New York,
and has taught literature and writing at Hunter College, Baruch College,
andPaceUniversity.
PamelaBurgerearnedaPhDinEnglishattheGraduateCenteroftheCity
UniversityofNewYork,andshereceivedanMFAincreativewritingfrom
NewYorkUniversity.ShehastaughtliteratureandwritingatHunterCol-
lege,QueensCollege,andWesleyanUniversity.
WilliamV.CostanzoisaStateUniversityofNewYorkdistinguishedteach-
ingprofessorofEnglishandfilm.Hehastaughtcoursesinwriting,litera-
ture, and film studies at Westchester Community College since 1970. Dr.
Costanzo is active in the Society for Cinema and Media Studies and has
publishedsixbooksonwritingandfilm,includingDoubleExposure:Com-
posingThroughWritingandFilm,GreatFilmsandHowtoTeachThem,and,
mostrecently,WorldCinemaThroughGlobalGenres(Wiley-Blackwell).
x NotesonContributors
RobertDiYanni is a professor of humanities at New York University and
an instructional consultant in the NYU Center for the Advancement of
Teaching.Hehaswrittenextensivelyontheteachingofliteratureandwrit-
ing,interdisciplinaryhumanities,andcriticalandcreativethinking.Among
his books are Connections, Literature, Modern American Poets, Arts and
Culture, The Pearson Guide to Critical and Creative Thinking, and, most
recently,CriticalandCreativeThinking:ABriefGuideforTeachers(Wiley-
Blackwell).
Amy K. Hamlin holds a PhD in art history from New York University’s
Institute of Fine Arts. She has presented and published onthe art of Paul
Ce´zanne, Max Beckmann, William H. Johnson, Jasper Johns, and Kara
Walker.AnAssociateProfessorofArtHistoryatSt.CatherineUniversity,
she teaches across the art history curriculum and practices experimental
pedagogiesandsociallyengagedarthistory.
MichaelHoganistheauthoroftwenty-twobooks,includingabest-selling
history,TheIrishSoldiersofMexico.Hisessaysandarticleshaveappeared
in many anthologies and textbooks. For two decades he was head of the
HumanitiesDepartmentattheAmericanSchoolofGuadalajaraandProfes-
sorofInternationalRelationsattheAutonomousUniversityofGuadalajara.
AmemberoftheOrganizationofAmericanHistorians,hewasawardedthe
goldmedaloftheMexicanGeographicalSociety.
PatC.HoyIIhastaughtattheUSMilitaryAcademy,Harvard,NewYork
University, and Hendrix College. Author of numerous textbooks on com-
position,hisessaysandreviewshaveappearedinaspectrumofprestigious
journals. Awards include the 2003 Cecil Woods, Jr. Prize for Nonfiction
fromtheFellowshipofSouthernWriters,theSpearsPrizeforbestessayin
Sewanee Review (2014), and two Golden Dozen Awards for distinguished
teachingatNYU.
ThomasM.Kitts,PhD,isprofessorofEnglishatSt.John’sUniversity,NY.
He is the author of John Fogerty: An American Son, Ray Davies: Not Like
EverybodyElse,TheTheatricalLifeofGeorgeHenryBaker,andmanyarti-
clesandreviews.WithGaryBurnsofNorthernIllinoisUniversity,heedits
PopularMusicandSocietyandRockMusicStudies.Heistheareachairof
musicforthePopularCultureAssociation/AmericanCultureAssociation.
ThomasPetrianoisprofessorandchairofreligiousstudiesatSt.Joseph’s
CollegeinPatchogue,NY.Hereceivedhisdoctorateinsystematictheology
NotesonContributors xi
fromFordhamUniversityin1997.Heteachescoursesonbeliefandunbe-
liefinthemodernworld,religionsofAbraham,worldreligions,andlibera-
tiontheology.Healsoparticipatesinaglobalservice-learningprogramthat
involvesworkingwithanindigenouscommunityinNicaragua.
LawrenceScanlonisco-authoroffourbooksonteaching,literature,and
rhetoric: Teaching Nonfiction in *AP English, The Language of Composi-
tion, Literature and Composition, andConversations in American Litera-
ture.Ahighschoolteacherformorethanthirtyyears,hewasawardedthe
Dean’sAwardforExcellenceinEducationfromtheStateUniversityofNew
York.HeteachesatIonaCollegeandconductsworkshopsandinstitutesfor
teachersintheUnitedStates,Canada,Europe,Asia,andSouthAmerica.
LouisScheederisfounderanddirectorofTheClassicalStudioandasso-
ciatedeanoffacultyattheNewYorkUniversityTischSchooloftheArts.
HehasservedasproduceroftheFolgerTheatreGroup,workedattheRoyal
ShakespeareCompanyandwasassociatedwiththeManitobaTheatreCen-
tre. Co-author of All The Words on Stage, he has conducted acting work-
shops worldwide, and is a member of The Factory UK, an experimental
theatrecompanydedicatedtoexploringspontaneityandargumentintheir
myriadtheatricalforms.
Matt Statler is clinical associate professor of management and organiza-
tionsanddirectorofbusinessethicsandsocialimpactprogrammingatthe
NYUSternSchoolofBusiness.Hehaspublishedonethics,leadership,and
strategy,andisco-editoroftheEncyclopediaofDisasterRelief,theEncyclo-
pediaofCrisisManagement,andLearningfromtheGlobalFinancialCrisis.
He holds a PhD in philosophy from Vanderbilt University and was a Ful-
brightScholarattheUniversityofHeidelberg.