Reading Into Writing
A Guide to Composing
Published on 12. December 2002
Book
Paperback/Softback
464 pages
978-0-321-01027-8 (ISBN)
Description
This innovative rhetoric/reader encourages writers to investigate rhetorical, creative, critical, and cultural approaches to reading in order to enrich their writing.
Offering students an invitation to read from different perspectives, this approach hones students' writing in their composition courses and beyond by helping them explore the complicated interactions between writers, readers, and texts. Six flexible "Writing Workshops" reinforce chapter concepts and follow a paper drafting sequence.
Offering students an invitation to read from different perspectives, this approach hones students' writing in their composition courses and beyond by helping them explore the complicated interactions between writers, readers, and texts. Six flexible "Writing Workshops" reinforce chapter concepts and follow a paper drafting sequence.
More details
Language
English
Place of publication
United States
Publishing group
Pearson Education (US)
Target group
Professional and scholarly
Dimensions
Height: 232 mm
Width: 162 mm
ISBN-13
978-0-321-01027-8 (9780321010278)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Content
I. UNDERSTANDING READING FOR WRITING.
1. Remembering Reading.
The Literacy Narrative.
The Sweetest Language of All, by Christina del Amo.
Guilty Reading, by Faith Eidse.
The Bear Is a Lot Like Me, by Jarrett Keene.
From An Indian Childhood, by Anna Joseph.
Exploratory Reading.
Exploratory Writing.
Writing Workshops and Drafting Sequences.
Writing Workshops: The Literacy Narrative.
Exploratory Reading.
Exploratory Writing.
Writing Workshops.
2. Practicing Reading for Writing.
Investigating Beliefs by Investigating Experiences with Reading.
Cultivating a Reading Process.
Practicing Reading for Writing.
First Investigation: Focus on Yourself Reading.
Second Investigation: Focus on Genre (Communities).
Third Investigation: Focus on the Text.
Fourth Investigation: Focus on Broader Contexts.
Continuing to Read for Your Writing.
Writing Workshop II: Reading Versions.
Exploratory Reading.
Three Versions of a Diary Entry by Anne Frank.
Exploratory Writing.
Writing Workshops.
II. FOUR APPROACHES FOR READING FOR WRITING.
3. What Rhetoricians Know.
Reading the Rhetorical Situation.
Making Rhetorical Readings.
Rhetorical Analyses of Magazines, by Millie McCaskill, Carmen M. Rodriquez and Mindy Brady.
Reading Style.
Re-reading, Rhetorically, with Genre in Mind.
Reading as Writing Research.
Why Writers Research?
Primary and Secondary Research.
A Note on Technologies and the Research Process.
Writing Workshop III: Rhetorical Reading, Research, and Writing.
Exploratory Reading.
Research Sequence for Writing About Ordinary Objects.
Exploratory Research.
Writing Workshops: Project A (I-Search) and B (Informal Research Essay).
4. What Creative Writers Know.
Exploring Images of Creative Writers.
Reading as a Creative Writer.
Making Readings Visible: Becoming a Creative Reader.
Reading Journal Response to `Grating Parmesan', by Barbara Crooker, Ellen Schendel.
Using Creative Readings for Creative Writings: Imitation.
Writing Workshop IV: Creative Reading, Imitation, Appreciation.
Exploratory Reading and Writing: Imitation Sequence.
Exploratory Reading and Writing: Appreciation Sequence.
Writing Workshops.
5. What (Literary) Scholars Know.
Critical Reading for Critical Writing.
Reading Theories and Critical Lenses.
Fifth Investigation: Invitation To Read and Write from a Biographical, Historical or New Historical Perspective.
Sixth Investigation: Invitation To Read and Write from a Deconstructive Perspective.
Seventh Investigation: Invitation To Read and Write from a Feminist Perspective.
Developing Your Own, Scholarly, Reading for Writing Perspective(s).
To the One Tunnelling, by Charles Simic.
Writing Workshop V: Composing a Collaborative Critical Casebook.
Preview: The Assignment.
Exploratory Reading.
Exploratory Writing.
Writing Workshops.
6. What Fieldworkers Know.
Reading Culture: Thinking About Where You Stand.
Practicing Fieldwork.
Florida `Crackers', by Ormond Loomis.
Translating Experience into Text.
Writing Workshop VI: Reading Local Culture(s).
Exploratory Reading.
Exploratory Writing.
Writing Workshops.
Anthology Readings.
Nineteen, Elizabeth Alexander.
Nineteen, by Andrea Monroe.
(Mainly) Middle-Class Suburban (Mostly) White, or Making Sense of Suburbia, Wendy Bishop.
The Bath, Raymond Carver.
A Clack of Tiny Sparks: Remembrances of a Gay Boyhood, Bernard Cooper.
Grating Parmesan, Barbara Crooker.
What's In a Name, Sarah Curtis.
Three Versions of a Diary Entry, Anne Frank .
The Great Samoan Hoax,Martin Gardner.
How Many Classes Are There? Dennis Gilbert .
El Teatro de Guillermo Shakespeare: William Shakespeare in Spain, Lalena Gonzalex.
A Good Place? and Response to "A Good Place?" by William Sussman, William W. Graham.
Memory and Imagination, Patricia Hampl.
Lockdown, Evans D. Hopkins.
Elegy for My Father, Who Is Not Dead, Andrew Hudgins
The Moral Superiority of "Casablanca" Over "The English Patient" and Philosophy, Morality, and "The English Patient", Thomas Hurka.
The Story of Dice, Rickey Jay.
Girl, Jamaica Kincaid.
Letter from Birmingham Jail, Martin Luther King, Jr.
The Idea of Ancestry, Ethridge Knight.
Persimmons, Li-Young Lee.
Reading Critically in Economics, Dennis Patrick Leyden.
Learning from Curly: A Sketch, Ormond Loomis.
The Internet Can Be a Wonderful Place, But... , Charles Lowe.
The Voice You Hear When You Read Silently, Thomas Lux.
The Egg and the Sperm: How Science has Constructed a Romance Based on Stereotypical Male-Female Roles, Emily Martin.
A Day in Samoa, Margaret Mead.
Good Country People, Flannery O'Connor.
I Go Back to 1937, Sharon Olds.
Like Whatever, David W. Orr.
The Shawl, Cynthia Ozick.
Brains and Books, Diane Payne.
One Good Turn, Witold Rybcznski.
In the No, Kiini Ibura Salaam.
Letter to a Young Surgeon, Richard Selzer.
Let's Go: Podunk, Jon Spayde.
Nighttime Eulogy and Black Dress, White Polka Dots, Carmela Starace.
Love Drunk, Donna Steiner.
From Bootstraps: An American Academic of Color, Victor Villanueva, Jr.
This Is Just to Say, William Carlos Williams.
Variations on a Theme by William Carlos Williams, Kenneth Koch.
The Library Card, Richard Wright.
Appendix: Resources for Presenting Your Work.
Reading a Workshop: The Executive Summary.
Reading Your Drafts: The Process Cover Sheet.
Reading the Term: Compiling a Portfolio, Presenting Your Writing.
Writing Portfolios: Mid-Term and End of Term.
Sample Mid-Term Portfolio Checklist.
Sample End of Term Portfolio Checklist.
Sample Portfolio Preparation Guidelines.
1. Remembering Reading.
The Literacy Narrative.
The Sweetest Language of All, by Christina del Amo.
Guilty Reading, by Faith Eidse.
The Bear Is a Lot Like Me, by Jarrett Keene.
From An Indian Childhood, by Anna Joseph.
Exploratory Reading.
Exploratory Writing.
Writing Workshops and Drafting Sequences.
Writing Workshops: The Literacy Narrative.
Exploratory Reading.
Exploratory Writing.
Writing Workshops.
2. Practicing Reading for Writing.
Investigating Beliefs by Investigating Experiences with Reading.
Cultivating a Reading Process.
Practicing Reading for Writing.
First Investigation: Focus on Yourself Reading.
Second Investigation: Focus on Genre (Communities).
Third Investigation: Focus on the Text.
Fourth Investigation: Focus on Broader Contexts.
Continuing to Read for Your Writing.
Writing Workshop II: Reading Versions.
Exploratory Reading.
Three Versions of a Diary Entry by Anne Frank.
Exploratory Writing.
Writing Workshops.
II. FOUR APPROACHES FOR READING FOR WRITING.
3. What Rhetoricians Know.
Reading the Rhetorical Situation.
Making Rhetorical Readings.
Rhetorical Analyses of Magazines, by Millie McCaskill, Carmen M. Rodriquez and Mindy Brady.
Reading Style.
Re-reading, Rhetorically, with Genre in Mind.
Reading as Writing Research.
Why Writers Research?
Primary and Secondary Research.
A Note on Technologies and the Research Process.
Writing Workshop III: Rhetorical Reading, Research, and Writing.
Exploratory Reading.
Research Sequence for Writing About Ordinary Objects.
Exploratory Research.
Writing Workshops: Project A (I-Search) and B (Informal Research Essay).
4. What Creative Writers Know.
Exploring Images of Creative Writers.
Reading as a Creative Writer.
Making Readings Visible: Becoming a Creative Reader.
Reading Journal Response to `Grating Parmesan', by Barbara Crooker, Ellen Schendel.
Using Creative Readings for Creative Writings: Imitation.
Writing Workshop IV: Creative Reading, Imitation, Appreciation.
Exploratory Reading and Writing: Imitation Sequence.
Exploratory Reading and Writing: Appreciation Sequence.
Writing Workshops.
5. What (Literary) Scholars Know.
Critical Reading for Critical Writing.
Reading Theories and Critical Lenses.
Fifth Investigation: Invitation To Read and Write from a Biographical, Historical or New Historical Perspective.
Sixth Investigation: Invitation To Read and Write from a Deconstructive Perspective.
Seventh Investigation: Invitation To Read and Write from a Feminist Perspective.
Developing Your Own, Scholarly, Reading for Writing Perspective(s).
To the One Tunnelling, by Charles Simic.
Writing Workshop V: Composing a Collaborative Critical Casebook.
Preview: The Assignment.
Exploratory Reading.
Exploratory Writing.
Writing Workshops.
6. What Fieldworkers Know.
Reading Culture: Thinking About Where You Stand.
Practicing Fieldwork.
Florida `Crackers', by Ormond Loomis.
Translating Experience into Text.
Writing Workshop VI: Reading Local Culture(s).
Exploratory Reading.
Exploratory Writing.
Writing Workshops.
Anthology Readings.
Nineteen, Elizabeth Alexander.
Nineteen, by Andrea Monroe.
(Mainly) Middle-Class Suburban (Mostly) White, or Making Sense of Suburbia, Wendy Bishop.
The Bath, Raymond Carver.
A Clack of Tiny Sparks: Remembrances of a Gay Boyhood, Bernard Cooper.
Grating Parmesan, Barbara Crooker.
What's In a Name, Sarah Curtis.
Three Versions of a Diary Entry, Anne Frank .
The Great Samoan Hoax,Martin Gardner.
How Many Classes Are There? Dennis Gilbert .
El Teatro de Guillermo Shakespeare: William Shakespeare in Spain, Lalena Gonzalex.
A Good Place? and Response to "A Good Place?" by William Sussman, William W. Graham.
Memory and Imagination, Patricia Hampl.
Lockdown, Evans D. Hopkins.
Elegy for My Father, Who Is Not Dead, Andrew Hudgins
The Moral Superiority of "Casablanca" Over "The English Patient" and Philosophy, Morality, and "The English Patient", Thomas Hurka.
The Story of Dice, Rickey Jay.
Girl, Jamaica Kincaid.
Letter from Birmingham Jail, Martin Luther King, Jr.
The Idea of Ancestry, Ethridge Knight.
Persimmons, Li-Young Lee.
Reading Critically in Economics, Dennis Patrick Leyden.
Learning from Curly: A Sketch, Ormond Loomis.
The Internet Can Be a Wonderful Place, But... , Charles Lowe.
The Voice You Hear When You Read Silently, Thomas Lux.
The Egg and the Sperm: How Science has Constructed a Romance Based on Stereotypical Male-Female Roles, Emily Martin.
A Day in Samoa, Margaret Mead.
Good Country People, Flannery O'Connor.
I Go Back to 1937, Sharon Olds.
Like Whatever, David W. Orr.
The Shawl, Cynthia Ozick.
Brains and Books, Diane Payne.
One Good Turn, Witold Rybcznski.
In the No, Kiini Ibura Salaam.
Letter to a Young Surgeon, Richard Selzer.
Let's Go: Podunk, Jon Spayde.
Nighttime Eulogy and Black Dress, White Polka Dots, Carmela Starace.
Love Drunk, Donna Steiner.
From Bootstraps: An American Academic of Color, Victor Villanueva, Jr.
This Is Just to Say, William Carlos Williams.
Variations on a Theme by William Carlos Williams, Kenneth Koch.
The Library Card, Richard Wright.
Appendix: Resources for Presenting Your Work.
Reading a Workshop: The Executive Summary.
Reading Your Drafts: The Process Cover Sheet.
Reading the Term: Compiling a Portfolio, Presenting Your Writing.
Writing Portfolios: Mid-Term and End of Term.
Sample Mid-Term Portfolio Checklist.
Sample End of Term Portfolio Checklist.
Sample Portfolio Preparation Guidelines.