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| Scene, Episode, and Plot: What Happened and Why Do We Care? | |
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| Incident, Scene, and Sequence | |
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| Episode, Impression, and Fragment | |
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| Tension, Release, and Resolution | |
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| Multiple and Reflexive Plots | |
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| Modeling Critical Analysis for Jamaica Kincaid''s Girl | |
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| Anthology: Detective Work ? Figuring Plot | |
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| Character: Who Is Involved and Why Does It Matter? | |
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| Building Character | |
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| Presenting Character | |
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| Picturing Character | |
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| Feeling For Character | |
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| Character and Function | |
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| Modeling Critical Analysis for Jamaica Kincaid''s Girl | |
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| Anthology: Power Plays ? Characterizing Relationships | |
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| Theme: What Is the Nature of Meaning In A Work Of Art? Is Meaning the Same As Message? | |
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| Theme and Thesis | |
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| Theme and Moral | |
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| Multiple Themes In A Single Work | |
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| When the Message is Unwanted | |
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| Modeling Critical Analysis for Jamaica Kincaid''s Girl | |
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| Anthology: Exploring Boundaries ? Interpreting Theme | |
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| Point of View: How Do We Know What We Know About What Happened? | |
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| Perspective | |
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| The Narrative Eye | |
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| Reliable and Unreliable Narrators | |
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| Film Focus and Angles | |
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| Shifting Perspectives | |
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| Modeling Critical Analysis for Robert Browning''s "My Last Duchess." Anthology: Trust and Doubt ? A Matter of Point of View | |
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| Setting: Where and When Does the Action Take Place? Why Does It Make A Difference? | |
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| Place and Time | |
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| The Role of Physical Objects | |
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| Imaginary Places | |
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| Modeling Critical Analysis for Robert Browning''s "My Last Duchess." Anthology: From Gothic Space to Recognizable Place ? Creating Setting | |
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| Rhythm, Pace, and Rhyme: How Do Sounds Move? | |
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| Filmic Rhythm | |
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| Poetic Rhythm | |
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| The Rhythm of Pauses | |
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| The Rhythm of Sounds | |
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| Modeling Critical Analysis for Robert Browning''s "My Last Duchess." Anthology: Innocence and Experience ? Rhythm and Meaning | |
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| Images: Can We Trade A Picture for A Thousand Words? | |
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| Creating Pictures With Words | |
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| Registering Taste and Smell | |
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| The Interaction of the Senses | |
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| Words and Pictures Interacting | |
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| Modeling Critical Analysis for T.S. Eliot''s "The Love Song of J. Alfred Prufrock." Anthology: Home and Away ? Personalizing Images | |
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| Coherence: How Does the Work Hold Together? | |
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| Design and Shape | |
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| Traditional Structures | |
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| Coherence Without Traditional or Fixed Structure | |
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| Modeling Critical Analysis for T.S. Eliot''s "The Love Song of J. Alfred Prufrock." Anthology: Ritual and Routines ? Structuring for Coherence | |
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| Interruption: Where Did That Come From? Why Is This Here? | |
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| Interrupting the Fictional Frame | |
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| Structural Interruptions | |
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| Juxtaposition | |
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| Montage | |
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| Modeling Critical Analysis for T.S. Eliot''s "The Love Song of J. Alfred Prufrock." Anthology: Framing, Mapping, Exploration ? | |
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| Placing Interruption | |
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| Tone: Did I Hear That Right? | |
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| Hearing Right | |
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| Mixing and Balancing Opposing Tones | |
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| Irony and Introspection | |
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| Modeling Critical Analysis for O Brother Where Art Thou? | |
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| Anthology: Caught Between Laughter and Tears | |
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| Word Choice: Why This Word and Not Another? | |
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| Precision and Playfulness | |
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| Beyond Summary | |
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| Definition and Usage | |
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| Critically Reflecting on Words | |
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| Modeling Critical Analysis for O Brother Where Art Thou? | |
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| Anthology: Romantic Love ? | |
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| Expressing the Exact Emotion | |
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| Allegory: How Do Concrete Actions Suggest Abstract Meanings? | |
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| Learning Through Likeness | |
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| Embodying Timeless Qualities | |
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| Reading Allegory | |
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| Modeling Critical Analysis for Jopo Guimarpes Rosa''s, "The Third Bank of the River." Anthology: The Quest for Truth ? Reading Allegory | |
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| Symbolism: What Makes Us "Read Into" An Event Or An Image? | |
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| Figurative Language | |
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| Recognizing Symbols | |
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| Allegory and Symbol | |
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| Modeling Critical Analysis for Jopo Guimarpes Rosa''s, "The Third Bank of the River." Anthology: Building and Undoing Community ? Taking Part In Symbolism | |
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| Context: What Factors Outside the Text Influence Our Experience of the Texts? What Do We Really Need To Know? | |
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| How Does New Knowledge Influence Our Experience of Old Texts? | |
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| How Is Knowledge "Outside" the Text Helpful? | |
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| Do We Need To Know Everything In Order To Understand? | |
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| What If Substantial Outside Knowledge Is Essential? | |
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| Modeling Critical Analysis for Jopo Guimarpes Rosa''s, | |