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Preface | |
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Acknowledgments | |
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Entering the Text | |
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First Impressions: Reader Meets Text | |
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Long Distance | |
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How Readers Make Meaning | |
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How Readers' Interests Shape Their Readings | |
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How Readers Thematize | |
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Theme for English B | |
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How Readers' Diversity Leads Them to Make Different Meanings | |
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Heritage | |
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How Readers Differ from One Another | |
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How Readers' Differences Shape What They Perceive | |
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Home Burial | |
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Explaining Differences Among Readers: The Role of Feelings | |
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Dulce et Decorum Est | |
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The Soldier | |
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The Role of Memories, Associations, and Beliefs | |
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from Hope Mills | |
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Texts for Further Reading | |
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Exploring Readings and Feelings | |
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To Lucasta, Going to the Wars | |
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Patterns | |
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To a Child Born in Time of Small War | |
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War | |
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In Another Country | |
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I sing of Olaf glad and big | |
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The Loneliness of the Military Historian | |
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Dien Bien Phu | |
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Martial Choreograph | |
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Exploring Readings and Memories | |
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from Nigger: An Autobiography | |
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Gains and Losses | |
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Gaps: How Texts Invite Us to Read Them | |
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Closing Gaps to Build a Reading | |
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Pitcher | |
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Conventions of Reading and How They Help Us Close Gaps | |
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How Many Light-Bulb Jokes Does It Take to Chart an Era? | |
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Types of Conventions | |
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The Convention of Unity | |
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I Like to See It Lap the Miles | |
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The Convention of Coherence | |
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Metaphors | |
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The Convention of Significance | |
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Nothing Gold Can Stay | |
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How Readers (and Writers) Can Play With Conventions | |
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Living in Sin | |
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I Used to Live Here Once | |
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How Groups Establish Conventions: Interpretive Communities | |
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A and P | |
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How Readers Challenge Conventions: Reading against the Grain | |
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Butterflies | |
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How Some Texts Challenge Conventions | |
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Like the Ant. Like the Praying Mantis | |
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What Did We Do Wrong? | |
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Texts for Further Reading | |
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London | |
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from Cathedral | |
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The Rocking-Horse Winner | |
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A Narrow Fellow in the Grass | |
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The Red-Headed League | |
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How Readers Construct the World of the Text | |
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What Is "the World of the Text"? | |
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How the World of a Text Differs from Its Setting | |
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Reading for World | |
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The Ones Who Walk Away from Omelas | |
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Distinguishing Among Worlds | |
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Texts' Worlds | |
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Authors' Worlds | |
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Readers' Worlds | |
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How Textual Worlds Relate to Cultural Values | |
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The Greatest Man in the World | |
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Working With Unfamiliar Text Worlds | |
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Clay | |
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How Author's World and Reader's World Converge | |
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Black Swamp: A Comedy in Ten Minutes | |
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Cultural Icons: Symbols of Worlds | |
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The Woman Who Will Not Die | |
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from Marilyn: A Biography | |
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from The Fifties | |
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Texts for Further Reading | |
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Hoosier-ettes | |
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from Herland | |
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The Eve of the Spirit Festival | |
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Presleystroika | |
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The Death of Marilyn Monroe | |
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Candle in the Wind | |
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Prayer for Marilyn Monroe | |
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Another Poem for Marilyn Monroe | |
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Four Marilyns | |
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Using the Text's Strategies to Build Your Reading | |
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How Language Guides Us to Configure Meaning | |
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The Role of Tropes | |
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Simile | |
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Tropes Are Cultural Conventions | |
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Sonnet 130 | |
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How Figurative Language Pervades Culture | |
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How Tropes Affect Our Understanding | |
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Types of Tropes | |
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Metaphor | |
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The Rose Family | |
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Metonymy | |
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Song: To Celia | |
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Synecdoche | |
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Song | |
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The Sick Rose | |
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Irony | |
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To Aunt Rose | |
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How a Trope Changes in the Course of a Text | |
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Snow-white and Rose-red | |
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After Apple-Picking | |
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How a Trope Changes from Text to Text | |
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One Perfect Rose | |
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A Brown Girl Dead | |
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Lily and Rose | |
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Rose in Smoke | |
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Texts for Further Reading | |
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Minerva, Ohio | |
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Harlem | |
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Fire and Ice | |
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Good Country People | |
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Separating | |
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Generic Expectations: How Readers of Narrative Know What to Expect | |
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How We Recognize a Story | |
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Elements of Narratives | |
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The Minimal Story | |
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Cultural Implications | |
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I Wandered Lonely as a Cloud | |
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Story, Discourse, and Plot | |
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Where Are You Going, Where Have You Been? | |
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Story Order and Discourse Order | |
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Babylon Revisited | |
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Genre: Narrative Types | |
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How Genre Affects Theme | |
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Design | |
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How Genre Affects Gaps | |
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The Murders in the Rue Morgue | |
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Mixed Genres | |
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Young Goodman Brown | |
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Challenging Generic Expectations | |
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The Working Girl | |
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Texts for Further Reading | |
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Carried Away | |
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The Two | |
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Strung Out | |
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A Noiseless, Patient Spider | |
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from Briar Rose | |
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Narrative Perspectives: How Readers Follow the Story | |
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How Narrative Perspectives Work | |
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The Meadow Mouse | |
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Narrative Perspectives and Point of View | |
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Kinds of Narrators | |
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Third-Person Omniscient Narrators | |
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A White Heron | |
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Limited Omniscient Narrators | |
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Objective Narrators | |
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Hills Like White Elephants | |
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Indirect Narration: Filter Characters | |
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Town and Country Lovers | |
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First-Person Narrators | |
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The Lesson | |
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Unreliable Narrators | |
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I Stand Here Ironing | |
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Additional Perspectives | |
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The Narratee | |
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Engaging the Perspectives of the Characters | |
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Engaging Multiple Perspectives | |
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Everyday Use | |
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Texts for Further Reading | |
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Zagrowsky Tells | |
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My Last Duchess | |
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Dry September | |
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A Jury of Her Peers | |
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Araby | |
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Intertextuality: How Texts Keep Going and Going and Going | |
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What is Intertextuality? | |
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Authorial Intentions and Intertextuality | |
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The Destruction of Sennacherib | |
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Very Like a Whale | |
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A Drumlin Woodchuck | |
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Woodchucks | |
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Myth and Intertextuality | |
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An Example: The Oedipus Myth | |
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Oedipus the King | |
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Myth | |
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from Power Dreamers: The Jocasta Complex | |
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Texts for Further Reading | |
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The Gold Key | |
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Briar Rose (Sleeping Beauty) | |
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Sleeping Beauty | |
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A Failure of Apology | |
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Dover Beach | |
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The Dover Bitch (A Criticism of Life) | |
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The Tyger | |
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The Beggar (After William Blake) | |
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Capitalist Poem #7 | |
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Socialist Poem #1 England, The Winter of Discontent, 1979--(After Campbell McGrath) | |
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Conventions of Shared Readings: How Readers Talk with One Another about Texts | |
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Joining the Conversation: Learning the Conventions | |
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A Sample Conversation among Readers: On Oleanna | |
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Oleanna | |
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Conventions of the Review | |
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Dogma Days | |
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Acts of Violence | |
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Generic Characteristics of Reviews | |
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Other Voices: Less Formal Readings of Oleanna | |
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Responses to Oleanna | |
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The Academic Reading: Articles and Research Papers | |
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A Sample Conversation between Academic Readers on "Leda and the Swan" | |
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Leda and the Swan | |
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from A Reader's Guide to William Butler Yeats | |
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from W. B. Yeats: The Later Poetry | |
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from The Destructive Vision | |
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The Rapist in "Leda and the Swan" | |
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Conventions of Academic Writing: Taking Account of Others' Readings | |
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Deciding What to Include and What to Leave Out | |
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Incorporating Other Readings into Your Own | |
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Texts for Further Reading | |
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The Gift Outright | |
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Credits | |
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Index | |