Speaking Of Reading By Kevin Clarke Analysis

Read excerpt # 3 The Anasazi: Chaco Canyon and Mesa Verde and excerpt # 4 The Mississippians: Cahokia and Moundville (pp.29-33) by following the link Pre-Columbian America (Learner.org). Type responses to the following questions on Google Doc and save.

In a math classroom, the teacher cannot neglect the need for providing a print rich environment. “Word walls are a technique that many classroom teachers use to help students become fluent with the language of mathematics. It is vital that vocabulary be taught as part of a lesson and not be taught as a separate activity” (Draper, 2012). Draper acknowledges the fact that words in mathematics may be confusing for students to study as “words and phrases that mean one thing in the world of mathematics mean another in every day context. For example, the word “similar” means “alike” in everyday usage, whereas in mathematics similar has to have proportionality” (Draper, 2012). Fites (2002) argues that the way a math problem is written drastically will effect a student’s performance, not just in reading the problem, but in solving the math equation as well. There is where the misinterpreting of different word meanings in math comes into play. Fites continues with the importance of understanding vocabulary not just in reading but for math as well with the correlation between improved vocabularies in math yields improvement on verbal problem solving

In “How to read literature like a professor” by Thomas Foster he explains different literary techniques that writers use when writing a story. Some of these techniques were symbolism, tone, major conflicts, foreshadowing and using certain settings. Even though all of these techniques are important to the story, symbolism is more important because it is used the most throughout the book. Symbolism is the use of people or objects to portray a certain idea or quality of something.

In chapter fourteen of Thomas Foster’s novel, How to Read Literature Like a Professor, when telling of Christ in our literature, he makes the all-composing assertion that we live in an overwhelming Christian culture. The common man or woman may not know all there is to understand in Christianity, but our media and minds are affected by it considerably and basic knowledge of its core is known by the majority. The figures of Jesus in literature are abstract and in no way have to be exact to Jesus in gender, morality, or actions. No literary character or real character can be as divine or perfect as Jesus was in the Bible, making it impossible to completely replicate him. Imagination is the largest

Chapter 21 of Everyone's An Author with Readings (Andrea Lunsford et al.) focuses on the synthetization of ideas from the author and the referenced work. The sources should be properly cited and tie into your argument or idea. In research based areas it's important to have sources that are able to support your stance. The sources can be from the same viewpoint or from another view. The origin of the sources should be credible in their area of expertise or from a credible source. By balancing both the stated argument can be improved. The chapter then gives an example of a Synthesis. War, Cartoons, and Society: Changes in Political Cartoons between World War II and the Iraq War by Julia Landauer is an essay from her second year writing course at Stanford University. It first starts by referencing a relative cartoon then tying it into the effects and uses of such cartoons. However, the chapter cuts it off as the essay starts to bring out the main questions it's analyzing.

Mike Bunn in “How to Read Like a Writer” begins with a revelation: that writing is a process in which individual words are specifically chosen and strung together in a way that impacts the reader. With this in mind, Bunn encourages his students to read like a writer. Reading like a writer is different from just appreciating the message. Bunn compares reading like a writer to an architect studying a constructed building. The goal of reading, then, is for students to examine how a piece was constructed with the purpose of recreating a similar effect in their own writing. Bunn establishes the fact that students are made to read so they can learn to write before showing students how to go about this. Before reading, the context should be evaluated, he

Chapter 10 of How to Read Literature Like a Professor is called “Never Stand Next to the Hero.” This chapter claims that character’s deaths are important plot devices. Foster made a great point of saying how readers become emotionally attached to characters in books. He makes to point that characters aren't real people. “They’re not people because they have never existed. I mean, have you ever met one on the street?” Characters are simply an outline made by the author and the reader coloring in that outline to make the character what they want it to be. Foster also pushed the point across that the main character can’t ever die in the beginning or middle of the book. If the main character dies, what’s the point of the book

In the twelfth chapter of Thomas C. Foster’s How to Read Literature Like a Professor, Foster provides various information on how to identify symbols throughout literature. The chapter stressed the individuality of identifying symbols, Foster mentions multiple times that “every reader’s experience of every work is unique, largely because each person will emphasize various elements to different degrees” (110). After learning this and also having read Extremely Loud and Incredibly Close by Jonathan Safran Foer, one thing that stood out was that the main character, Oskar, only has and only wears white clothes. Not only does Oskar often reference his various white clothes, including the white scarf that Grandma knitted

　　In the essay “Reading and Thought”, Dwight MacDonlad talked about the kind of poor reading people are attached to in modern society. MacDonald believed reading materials such as Times and New York Times are too overwhelming for the readers. Readers tend to skim through the reading materials because most of the reading do not have any connections with their daily lives. Moreover, MacDoanld claimed that the readings people do these days are not thoughtful. The readings are rather irrelevant toward the readers. It is because the journalists to produce dull pieces of readings which are meant to be skimmed through without having too much thoughts involved. As the journalists do not have much consideration of the materials they produced. To the journalists the readings they produce are just a series of news that should be read driftly and left behind with no thoughful idea needed to be informed. These effects caused modern society to have a poor reading habits because people do not reflect and give time to think about the readings they did. Readers casually accept the readings even though they do not have provide any resourceful information for the readers.

Thomas C. Foster utilizes various allusions and forms of symbolism to apply a multifaceted meaning or message to any piece of literature. In “How to Read Literature Like a Professor” Foster theorizes how an author can assist a reader in getting a better grip on the message or purpose of a work using figurative language including symbolism, tones, allusions, and techniques. The chapters “…Or the Bible”, “It’s Never Just Heart Disease”, and “Nice to Eat with You: Acts of Communion” all demonstrate how Foster’s theories can be applied to the way authors have written and will continue to write.

In “How to Read Literature Like a Professor”, chapter 18, Foster speaks on the topic of rebirth and renewal. He says that when a character's body is submerged into a body of water there is a symbolic meaning behind it. If the character arises from the watery depths ,then there has been some form of transformation whether it be internal or external. This is actually one of my favorite motifs to speak on, or think about. It shows the change and development of a character, how they grow, and their thought process has changed. This stage of rebirth in a literary work is the background, or building blocks, to the character's new persona/attitude.

In Thomas C. Foster’s novel, How to Read Literature Like a Professor, Foster describes the aspects of a quest in literature as: “a quester, a place to go, a stated reason to go there, challenges and trials en route, and a real reason to go there,” (Foster 3). These aspects can be applied to many forms of literature and media. For example, in the theatrical adaptation of J.K. Rowling’s Harry Potter and the Sorcerer’s Stone, the aspects of a quest are present. In this case the quester would be Harry Potter, the place to go would be the Mirror of Erised, the stated reason to go there would be to protect the Philosopher’s Stone from Professor Snape, the challenges and trials en route would be the three headed dog (along with the other trials such

In chapter one of How To Read Literature Like A Professor Foster speaks all about the quest, which is very important in every well written story. Every character, in every novel, nevertheless of genre has a objective, something they are looking to fulfill. Foster addresses the many encounters that come with the quest in chapter one, which consist of: the quester, a place to go, a stated reason to go there, challenges and trails en route, and a real reason to go there. He later on discussed that true reason for a quest is self- knowledge,and that every trip is not always a quest. But when a trip becomes a quest Foster explains to stay attentive because some interesting things may be abroad!

Students in AP Language and Composition (AP3) are required to arrive to the first day of school having completed the “Summer Reading Assignment.” Students are to read Nickel and Dimed by Barbara Ehrenreich and the essays listed below. Then, complete the corresponding assignment (explained below). The assignment is to be turned in the first day of the 2015-2016 school year (August 29th, 2015).

Over the past month, we have been studying the concept of reading and writing in different communities. To assess this, we have read two different texts. Richard Rodriguez’s the achievement of desire”, from his autobiography “Hunger of Memory”; and Lucille McCarthy’s “A Stranger in Strange Lands: A College Student Writing across the Curriculum” from “Research in the Teaching of English”. Both answer key questions regarding what it takes to become a great reader and writer, however, from the reading that I have done, each one only answers one part of the question. Rodriguez’s main focus is in the aspect of reading, whereas McCarthy mainly focuses on the writing portion. Both do a decent job of analyzing and putting forth a view of how they believe a person can best perform in these environments. This then allows us to use their concepts and create our own version, based on their points of view. But why should we care? Most people at this level of academia will have developed a system of writing that works for them, and will have a difficult time breaking from it if they’re process doesn’t meet the criteria that Rodriguez, and McCarthy put forth. The reason it’s so important is because of implications these ideas have. Both authors put forth concepts that are indirectly related to one another and that are highly beneficial to all who will apply them. They will force you to conform to new environments in order to succeed, this in turn will make you more