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Bruce Beiderwell and Jeff Wheeler know that studying literature can be intimidating because of the specialized terminology and categorization. Rather than focusing first on terms or definitions, THE LITERARY EXPERIENCE, Compact Edition helps you develop the skills that make literature accessible, organizing the book and beginning each discussion by asking the same questions that students really ask themselves when they read a text, questions like "What is happening here?" or "Is there some other story that we're supposed to know?" With THE LITERARY EXPERIENCE, you will learn all of the literary terms you need to share your experience while you engage in the poems, stories and plays themselves.
Contents
1. Scene, Episode, and Plot.What Happened, and Why Do We Care? 1Edouard Boubat, Rendez-vous at the Cafe La Vache Noire.Incident, Scene, and Sequence.Experiencing Literature through Plot.Robert Pinsky, Poem with Lines in Any Order.Wislawa Szymborska, ABC.Episode, Impression, and Fragment.Claude Monet, Portal of Rouen Cathedral in MorningLight.Experiencing Literature through Impression and Episode.Stephen Crane, An Episode of War.Tension, Release, and Resolution.Multiple and Reflexive Plots.Memento.Marge Piercy, Unlearning to not speak.Modeling Critical Analysis: Jamaica Kincaid, Girl.Jamaica Kincaid, Girl.Anthology:Detective Work: Figuring Plot.Fiction: Arthur Conan Doyle, A Scandal in Bohemia.Don Lee, The Price of Eggs in China.Poetry: Emily Dickinson, [A Route of Evanescence].Emily Dickinson, [I l like to set it lap the Miles-].E.A. Robinson, Richard Cory.Robert Frost, Stopping by Woods on a Snowy Evening.William Stafford, Traveling through the Dark.Aron Keesbury, On the Robbery across the Street.Muriel Rukeyser, Myth.Drama: Sophocles, Oedipus the King.2. Character.Who Is Involved, and Why Does It Matter?Building Character.Experiencing Literature through Character.Michael Chabon, from The Amazing Adventures of Kavalier &Clay.Presenting Character.Picturing Character.Experiencing Film and Literature through Character.Gone with the Wind.Hattie McDaniel accepting her Academy Award atthe Coconut Grove.Rita Dove, Hattie McDaniel Arrives at the CoconutGrove.Feeling for Character.Experiencing Literature through Character.Cathy Song, Picture Bride.Robert Hayden, Those Winter Sundays.Character and Function.Judith Ortiz Cofer, My Father in the Navy:A Childhood Memory.Modeling Critical Analysis: Jamaica Kincaid, Girl.Anthology:Power Plays: Characterizing Relationships.FICTION: Alice Munro, How I Met My Husband.Alice Walker, Everyday Use.POETRY: Edgar Lee Masters, Elsa Wertman.Edgar Lee Masters, Hamilton Greene.Robert Frost, Home Burial.Audre Lorde, Now That I Am Forever with Child.Eavan Boland, The Pomegranate.Sylvia Plath, Daddy.Kitty Tsui, A Chinese Banquet.Billy Collins, Lanyard.Gwendolyn Brooks, Sadie and Maud.Seamus Heaney, Mid-Term Break.Michael Lassell, How to Watch Your Brother Die.Adrienne Rich, Aunt Jennifers Tigers.Gary Soto, Black Hair.Experiencing Literature through Writing.3. Theme.What Does This Text Mean?Is There One Right Way to Read This Text?Theme and Thesis.Theme and Moral.Charles Perrault, Little Red Riding Hood.James Thurber, The Girl and the Wolf.Calvin Coolidge.MGM Lion.Girl Devoured by Wolf.Experiencing Literature through Theme.Marge Piercy, A Work of Artifice.Multiple Themes in a Single Work.Experiencing Literature through Theme.Maxine Hong Kingston, The Wild Man of the Green.Swamp.When the Message Is Unwanted.Triumph of the Will.Modeling Critical Analysis: Jamaica Kincaid, Girl.Anthology:Exploring Boundaries: Interpreting Theme.FICTION: Luisa Valenzuela, The Censors.Flannery OConnor, A Good Man Is Hard To Find.POETRY: John Keats, La Belle Dame sans Merci: A Ballad.Edna St. Vincent Millay, [Women have loved before asI love now].Elizabeth Bishop, Casabianca.Ted Hughes, Lovesong.Carolyn Forche, The Colonel.William Butler Yeats, Leda and the Swan.D. H. Lawrence, Snake.Richard Wilbur, A Fable.Linda Pastan, Ethics.William Cullen Bryant, To Cole, the Painter, Departingfor Europe.Lawrence Ferlinghetti, Constantly risking absurdityDRAMA: Christopher Marlowe, The Tragical History of the Life andDeath of Doctor Faustus. 4. Point of View.How Do We Know What We Know about WhatHappened?Perspective.Albrecht Durer, Working on Perspective.Masaccio, Trinity.Plan and elevation of Masaccios Trinity.Dorothy Parker, Penelope.The Narrative Eye.Caspar David Friedrich, Wanderer above the Sea of Fog.Caspar David Friedrich, Woman in the Morning Light.Reliable and Unreliable Narrators.Third-Person Narrators.Charles Dickens, from A Christmas Carol.First-Person Narrators.Experiencing Literature through Point of View.Wendell Berry, The Vacation.Film Focus and Angles.The Magnicent Ambersons.Citizen Kane.Trapped.Nosferatu.Henry Taylor, After a Movie.Experiencing Film through Point of View.Rear Window.Shifting Perspectives.Stevie Smith, Not Waving but Drowning.Experiencing Literature through Perspective.Charles Sheeler, River Rouge Plant Stamping Press.Philip Levine, Photography 2.Frank X. Gaspar, It Is the Nature of the Wing.Modeling Critical Analysis: Robert Browning,My Last Duchess.Robert Browning, My Last Duchess.Anthology:Trust and Doubt: A Matter of Point of View.FICTION: Kate Chopin, The Story of an Hour.Charlotte Perkins Gilman, The Yellow Wallpaper.POETRY: William Carlos Williams, This Is Just to Say.Erica-Lynn Gambino, This Is Just to Say.Elizabeth Bishop, The Fish.Edna St. Vincent Millay, Childhood Is the Kingdom Where.Nobody Dies.Adrienne Rich, Living in Sin.H. D., Helen.Sylvia Plath, Mirror.5. Setting.Where and When Does This Action Take Place?Why Does it Make a Difference?Place and Time.Greetings from Fargo postcard.Experiencing Literature through Setting.Denise Levertov, February Evening in New York.Theodore Dreiser, from Sister Carrie.Department store interior.The Role of Physical Objects.Kazuo Ishiguro, from Remains of the Day.Imaginary Places.Experiencing Film through Setting.Amelie.Babe: Pig in the City.Modeling Critical Analysis: Robert Browning,My Last Duchess.Anthology:From Gothic Space to Recognizable Place: Creating Setting.Giovanni Piranesi, from Imaginary PrisonsFICTION: James Joyce, Araby.Edgar Allan Poe, The Fall of the House of Usher.POETRY: Samuel Taylor Coleridge, Kubla Khan: or, a Vision in a Dream.Edgar Allan Poe, The Raven.Christina Rossetti, Cobwebs.Oscar Wilde, The Harlots House.Dudley Randall, Ballad of Birmingham.Joy Harjo, New Orleans.Joy Harjo, The Woman Hanging from the ThirteenthFloor Window.Gary Soto, Braly Street.Gary Soto, Kearney Park.Chitra Banerjee Divakaruni, Indian Movie, New Jersey.6. Rhythm, Pace, and Rhyme.How Do Sounds Move?Filmic Rhythm.Experiencing Film through Rhythm.Jaws.Poetic Rhythm.Experiencing Literature through Rhythm.Herman Melville, The Maldive Shark.William Blake, Nurses Song.The Rhythm of Pauses.Experiencing Literature through Rhythm.Samuel Johnson, On the Death of Dr. Robert Levet.Ben Jonson, On My First Son.The Rhythm of Sounds.Experiencing Literature through Rhythm and Rhyme.Randall Jarrell, The Death of the Ball Turret Gunner.Robert Frost, Fire and Ice.Modeling Critical Analysis: Robert Browning,My Last Duchess.Anthology:Innocence and Experience: Rhythm and Meaning.FICTION: James Baldwin, Sonnys BluesUrsula K. Le Guin, The Ones Who Walk Away from Omelas.POETRY: William Blake, The Lamb.William Blake, The Chimney Sweeper (Innocence).William Blake, Holy Thursday (Innocence).William Blake, The Tyger.William Blake, The Chimney Sweeper (Experience).William Blake, Holy Thursday (Experience).Theodore Roethke, My Papas Waltz.Langston Hughes, Dream Boogie.Langston Hughes, The Negro Speaks of RiversGwendolyn Brooks, We Real Cool.Countee Cullen, Incident.Sharon Olds, I Go Back to May 1937DRAMA: Suzan-Lori Parks, Topdog/Underdog.7. Images.How Do We Experience Sensations in a Written Text?Creating Pictures with Words.William Carlos Williams, The Red Wheelbarrow.Czeslaw Milosz, Watering Can.Sailboat.Georges Seurat, Entrance to the Harbor.Experiencing Literature through Imagery.Wislawa Szymborska, The Courtesy of the Blind.Registering Taste and Smell.Sideways.Experiencing Literature through Images.Salman Rushdie, On Leavened Bread.Nun with Bread.Interaction of the Senses.John Milton, from Paradise Lost.Creating Pictures with Words.William Carlos Williams, The Red Wheelbarrow.Czeslaw Milosz, Watering Can.Sailboat.Georges Seurat, Entrance to the Harbor.Experiencing Literature through Imagery.Wislawa Szymborska, The Courtesy of the Blind.Registering Taste and Smell.Sideways.Experiencing Literature through Images.Salman Rushdie, On Leavened Bread.Nun with Bread.Interaction of the Senses.John Milton, from Paradise Lost.Gangs of New York.Lost in Translation.Experiencing Literature through Images.Richard Wilbur, A Fire-Truck.Interaction of Words and Pictures.Michael Ondaatje, King Kong Meets Wallace Stevens.Wallace Stevens.King Kong.Experiencing Literature through Images.Yosa Buson, from Hokku Poems in Four Seasons.Modeling Critical Analysis: T. S. Eliot, The Love Song ofJ. Alfred Prufrock.T. S. Eliot, The Love Song of J. Alfred Prufrock.Anthology:Home and Away: Personalizing Images.FICTION: Haruki Murakami, UFO in Kushiro.Jonathan Safran Foer, The Very Rigid Search.POETRY: William Blake, London.William Wordsworth, London, 1802.William Wordsworth, [I wandered lonely as a cloud].Emily Dickinson, [Theres a certain Slant of light].Robert Frost, Birches.Ezra Pound, In a Station of the Metro.Wallace Stevens, Thirteen Ways of Looking at a Blackbird.e. e. cummings, in Just.Maya Angelou, Harlem Hopscotch.Mary Oliver, Ghosts.Derek Walcott, Dry Season.DRAMA: Susan Glaspell, Trifles.8. Coherence.Is There a Pattern Here?How Does This Fit Together?Nick Hornby, from High Fidelity.High Fidelity.Design and Shape.George Herbert, Easter Wings.Thomas Hardy, The Convergence of the Twain.Traditional Structures.Sonnet chart.Experiencing Literature through Form.William Wordsworth, Nuns Fret Not.Edna St. Vincent Millay, I, Being Born a Womanand Distressed.Robert Frost, Design.Dylan Thomas, Do Not Go Gentle into That GoodNight.Coherence without Traditional or Fixed Structure.Philip Levine, The Simple Truth.Modeling Critical Analysis: T. S. Eliot, The Love Song ofJ. Alfred Prufrock.Anthology:Rituals and Routines: Structuring for Coherence.FICTION: Charles W. Chesnutt, Wife of His Youth.John Updike, A&P.POETRY: Joe Kane, The Boy Who Nearly Won the Texaco Art.Competition.Elizabeth Bishop, Manners for a Child of 1918.Phillis Wheatley, On Being Brought from Africa to America.Robert Frost, The Road Not Taken.Allen Ginsberg, Supermarket in California.Miller Williams, Thinking about Bill, Dead of AIDS.DRAMA: David Ives, Sure Thing9. Interruption.Where Did That Come From?Why Is This Here?Interrupting the Fictional Frame.The Princess Bride.Experiencing Literature through Interruption.Douglas Adams, from The Hitchhikers Guide to theGalaxy.Structural Interruptions.William Butler Yeats, The Folly of Being Comforted.Mary Oliver, Bone Poem.Experiencing Film through Interruption.Pulp Fiction.Juxtaposition.Margaret Bourke-White, At the Time of the LouisvilleFlood.Experiencing Literature through Juxtaposition.Ted Kooser, Tattoo.Montage.Experiencing Film through Juxtaposition.Roger and Me.Modeling Critical Analysis: T. S. Eliot, The Love Song ofJ. Alfred Prufrock.Anthology:Framing, Mapping, and Exploration: Placing Interruption.FICTION: Jorges Luis Borges, The Garden of Forking Paths.Joseph Conrad, The Secret Sharer.Raymond Carver, Cathedral.POETRY: Elizabeth Bishop, Brazil, January, 1502.Louise Bogan, Cartography.Sharon Olds, Topography.Langston Hughes, Theme for English B.Laura Riding, The Map of Places.Samuel Taylor Coleridge, The Rime of the Ancient Mariner.Emily Dickinson, [The Brain-is wider than the Sky-].Emily Dickinson, [I never saw a Moor-].Emily Dickinson, [Tell all the Truth but tell it slant-].Emily Dickinson, [To make a prairie it takes a cloverand one bee].John Donne, A Valediction: Forbidding Mourning.DRAMA: William Shakespeare, Hamlet10. Tone.Did I Hear That Right?Hearing Right.Margaret Atwood, you fit into me.Experiencing Literature through Tone.Dorothy Parker, One Perfect Rose.Dorothy Parker, Thought for a Sunshiny Morning.John Donne, The Flea.Mixing and Balancing Opposing Tones.Ted Kooser, A Letter from Aunt Belle.Experiencing Literature through Tone.Zora Neale Hurston, from Mules and Men.Irony and Introspection.Margaret Atwood, Siren Song.Chinua Achebe, Dead Mens Path.Czeslaw Milosz, If There Is No God.of Tonal Shifts.Modeling Critical Analysis: Joel Coen and Ethan Coen, O Brother,Where Art Thou?Margaret Bourke-White, Guard with a shotgun.O Brother, Where Art Thou?Anthology:Caught Between Laughter and Tears: Considering Tone in Analysis.FICTION: Katherine Mansfield, A Dill PickleHerman Melville, Bartleby, the Scrivener.POETRY: Billy Collins, I Chop Some Parsley While Listening to Art BlakeysVersion of ''Three Blind Mice.W. H. Auden, Musee des Beaux Arts.Sherman Alexie, Defending Walt Whitman.Ted Kooser, A Hairnet with Stars.Yusef Komunyakaa, A Break from the Bush.11. Word Choice.Why This Word And Not Another?Precision and Playfulness.Experiencing Film and Literature through Diction.Moulin RougeBeyond Summary.William Shakespeare, Sonnets (From fairest creatures we desire increase;When forty winters shall beseige thy brow; Look in thy glass, and tellthe face thou viewest; Is it for fear to wet a widows eye; Shall I comparethee to a summers day?) [poems].Definition and Usag.Billy Collins, Thesaurus.Oxford English Dictionary, Love.Experiencing Literature through Word Choice.Robert Sward, For Gloria on Her 60th Birthday, or Looking forLove in Merriam-Webster.Critically Reflecting on Words.Lewis Shiner, from The Turkey City Lexicon: A Primer for ScienceFiction Workshops.Bulwer-Lytton Contest Winners.Modeling Critical Analysis: Joel Coen and Ethan Coen,O Brother Where Art Thou?Anthology:Romantic Love: Expressing the Exact Emotion.FICTION: Raymond Carver, What We Talk about When We Talkabout Love.Edith Wharton, Roman Fever.POETRY: Anonymous, My Love in Her Attire.John Fletcher, [Take, oh take those lips away].Anonymous, Western Wind.Henry Howard, Earl of Surrey, [Love that doth reign and livewithin my thought].Thomas Wyatt, [The long love that in my heart doth harbor].e. e. cummings, Spring is like a perhaps hand.Emily Dickinson, [Wild Nights-Wild Nights!].Galway Kinnell, Shelley.Robert Burns, A Red, Red Rose.Edna St. Vincent Millay, What Lips My Lips Have Kissed.Denise Levertov, The Ache of Marriage.Denise Levertov, Divorcing.Christopher Marlowe, The Passionate Shepherd to His Love.Sir Walter Ralegh, The Nymphs Reply to the Shepherd.Andrew Marvell, To His Coy Mistress.Elizabeth Barrett Browning, [How do I love thee? Let mecount the ways.].Elizabeth Barrett Browning, [When our two souls stand up].Robert Browning, Meeting at Night.Robert Browning, Parting at Morning.DRAMA: Henrik Ibsen, A Dolls House12. Allegory.Is This Supposed to Mean Something Else, Too?Learning through Likeness.Gertrude Crampton, from Tootle.Front cover of Tootle.Experiencing Literature through Allegory.Aesop, The Crow and the Pitcher.Walter Crane, Aesops ''The Crow andthe Pitcher.Emily Dickinson, [Eden is that old-fashioned House].Embodying Timeless Qualities.Engraving of Statue of Justice holding the scales.Dosso Dossi, Allegory of Fortune.Billy Collins, The Death of Allegory.Reading Allegory.Plato, The Allegory of the Cave.Experiencing Film through Allegory.The Matrix.Modeling Critical Analysis: Joa‾o Guimara‾es Rosa,The Third Bank of the River.Joa‾o Guimara‾es Rosa, The Third Bank of the River.Anthology:The Quest for Truth: Reading Allegory.FICTION: Nathaniel Hawthorne, Young Goodman BrownPOETRY: Lewis Carroll, Jabberwocky.Sir John Tenniel, The Jabberwocky.Richard Corbett, The Fairies Farewell.John Donne, Batter My Heart, Three-Personed God.John Donne, Death, Be Not Proud.Emily Dickinson, [Because I could not stop for Death-].Gerard Manley Hopkins, Pied Beauty.Gerard Manley Hopkins, The Windhover.Ogden Nash, Kind of an Ode to Duty.Amiri Baraka, In Memory of Radio.DRAMA: Jane Martin, Beauty.13. Symbolism.How Do I Know When an Event or an Image Is Suppose toStand for Something Else?Figurative Language.Experiencing Literature through Symbols.Mary Jo Salter, Home Movies:A Sort of Ode.Recognizing Symbols.What does an apple symbolize? [images].Gary Soto, Oranges.Allegory and Symbol.Experiencing Literature through Symbolism.Nathaniel Hawthorne, from Young Goodman Brown.Modeling Critical Analysis: Joa‾o Guimara‾es Rosa,The Third Bank of the River.Anthology:Building and Undoing Community: Taking Part in Symbolism.FICTION Gabriel Garcia Marquez, A Very Old Man withEnormous Wings.Jhumpa Lahiri, This Blessed House.Shirley Jackson, The Lottery.POETRY: Matthew Arnold, Dover Beach.Jimmy Santiago Baca, Green Chile.e. e. cummings, [anyone lived in a pretty how town].Emily Dickinson, [The Soul selects her own Society-].Seamus Heaney, Valediction.Peter Meinke, Sunday at the Apple Market.Sharon Olds, The Possessive.Alice Walker, Women.Walt Whitman, There Was a Child Went Forth.William Carlos Williams, At the Ball Game.William Butler Yeats, The Wild Swans at Coole.DRAMA: Arthur Miller, Death of a Salesman.14. Context.What Outside Information Do We Really Need to Know toUnderstand the Text?How Does New Knowledge Influence Our Experienceof Old Texts?Alfred, Lord Tennyson, The Charge of the Light Brigade.Apocalypse Now.How Is Knowledge ''Outside the Text Helpful?Czeslaw Milosz, A Song on the End of the World.Experiencing Literature in Context.Czeslaw Milosz, Christopher Robin.Do We Need to Know Everything in Order to Understand?The Maltese Falcon.Experiencing Art in Context.Gustave Caillebotte, Young Man at His Window.What if Substantial Outside Knowledge Is Essential?Herman Melville, The House-Top.Sources for Research.Modeling Critical Analysis: Joa‾o Guimara‾es Rosa,The Third Bank of the River.Anthology:Language and War: Considering Context in Analysis.FICTION: Ernest Hemingway, Soldiers Home.Tim OBrien, The Things They Carried.POETRY: Herman Melville, A Utilitarian View of the Monitors Fight.Herbert Read, The Execution of Cornelius Vane.e. e. cummings, [i sing of Olaf glad and big].Richard Eberhart, The Fury of Aerial Bombardment.Edgar A. Guest, The Things That Make a Soldier Great.Sir Henry Newbolt, Vitai Lampada.Wilfred Owen, Anthem for Doomed Youth.Wilfred Owen, Dulce et Decorum Est.Carl Sandburg, Grass.Siegfried Sassoon, The Rear-Guard.Siegfried Sassoon, Repression of War Experience.Anne Sexton, Courage.Alice Moore Dunbar-Nelson, I Sit and Sew.15. Allusions.In Order to Understand This Text, Is There Something Else.I Am Supposed to Have Read?Creating Community.Experiencing Literature through Allusions.Charles Simic, My Weariness of Epic Proportions.Revisiting and Renewal.Dick Barnes, Up Home Where I Come From.Leonardo da Vinci, The Last Supper.William Wordsworth, My Heart Leaps Up.Experiencing Film through Allusions.Saturday Night Fever.Pulp Fiction.Identifying and Responding to Allusions.Modeling Critical Analysis: Tom Stoppard, The Fifteen MinuteHamlet.Tom Stoppard, The Fifteen Minute Hamlet.Anthology:The Myth of Cheating Death: Keeping Literature Alive with Allusion.FICTION : Joyce Carol Oates, Where Are You Going, Where HaveYou Been?William Faulkner, A Rose for Emily.POETRY: Percy Bysshe Shelley, Ozymandias.Sharon McCartney, After the Chuck Jones Tributeon Teletoon.John Keats, Ode on a Grecian Urn.John Keats, On First Looking into Chapmans Homer.Amy Clampitt, The Dakota.William Butler Yeats, Sailing to Byzantium.Czeslaw Milosz, Orpheus and Eurydice.Rainer Maria Rilke, Orpheus, Eurydice, Hermes.Jorie Graham, Orpheus and Eurydice.H. D., Eurydice.Adrienne Rich, I Dream Im the Death of Orpheus.Robert Pinsky, Keyboard.DRAMA: Mary Zimmerman, Metamorphoses.16. Genre.How Do Our Expectations Impact Our Literary Experience?How Are Those Expectations Formed?What Is Genre?Conventions.Experiencing Literature through Genre.Mrs. J. H. Riddell, from Nut Bush Farm.Disruptions.Experiencing Literature through Genre.William Shakespeare, from Macbeth.Displacement and Parody.Publicity poster for Buffy the Vampire Slayer.Mark Twain, Ode to Stephen Dowling Bots, Decd.Genre and Popular Culture.Boys dressed as cowboys [images].Experiencing Film through Genre.Shane.Unforgiven.Modeling Critical Analysis: Tom Stoppard, The Fifteen MinuteHamlet.Anthology:Honoring the Dead and Dignifying Death: Tracing Genre.FICTION: Katherine Anne Porter, The Jilting of Granny Weatherall.Margaret Atwood, Happy Endings.POETRY: John Milton, Lycidas.Walt Whitman, When Lilacs Last in the Dooryard Bloomd.Gwendolyn Brooks, De Witt Williams on His Way toLincoln Cemetery.Allen Tate, Ode to the Confederate Dead.Robert Lowell, For the Union Dead.Anne Bradstreet, In Memory of My Dear Grandchild, Elizabeth.Bradstreet, Who Deceased August 1665, Being a Year andHalf Old.Anne Bradstreet, Here Followes Some Verses upon the Burning ofOur House, July 10, 1666.Chidiock Tichborne, Elegy Written with His Own Hand in the Towerbefore His Execution.Theodore Roethke, Elegy for Jane.Seamus Heaney, Punishment 1385.Louise Erdrich, Dear John Wayne.Langston Hughes, Night Funeral in Harlem.Emily Dickinson, [I like a look of Agony].Emily Dickinson, [After great pain, a formal feeling comes-].Rudyard Kipling, The Power of the Dog.17. The Production and Reproduction of Texts.How Does Retelling and Revising Impact My Experience ofa Text?How Can Literary Theory Clarify What Constitutes ThatExperience?Texts and Technology.Textual Form and Conditions of Production.Experiencing Literature through Issues of Production.William Blake, A Poison Tree.An Orientation to Contemporary Critical Theory.New criticism and auteur theory.Deconstruction.New historicism and other historically grounded approaches.Why We Study the Texts We Study.Experiencing Literature through Theory.from Major Writers of America.from The Heath Anthology of American Literature.Analysis.Abridging, Revising, and Repackaging Text.Oliver Twist.Oliver Twist.Experiencing Literature through Issues of Production andReproduction of Texts.Mark Twain, from Adventures of Huckleberry Finn.Translations, Subtitles, and Dubbing.from Lost in Translation [screenplay].Modeling Critical Analysis: Tom Stoppard, The Fifteen MinuteHamlet.18. An Orientation to Research.Why Should I Use Sources?How Do I Use Them?What Material Do I Document?Why We Use Sources.Shaping a Topic.How to Find Sources.Giving Appropriate Credit: The Issue of Plagiarism.David Sumner (Jones), Someone Forgotten (plagiarized).Neal Bowers, Ten-Year Elegy.Experiencing Literature through Considerations of Plagiarism.Plutarch, from Lives of the Noble Grecians and Romans.William Shakespeare, from Julius Caesar.Integrating Sources into Writing: What We Document.Quotation, paraphrase, and summary.Distinct insights and common observations.Common knowledge.How to Cite.Parenthetical references in the text 1.The Works Cited list.Appendix A: Student Model Essay Collection Appendix B: Collection of Poet Biographies.Appendix C: Alternate Contents by Genre 1495.Glossary.Credits.Index of First Lines of Poetry.Index of Authors and Titles.
