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The College
Writer
A Guide to Thinking, Writing, and Researching
Seventh Edition
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The College Writer: A Guide to © 2022, 2018, 2015 Cengage Learning
Thinking, Writing, and Researching, WCN: 02-300
Seventh Edition
John Van Rys, Verne Meyer, Unless otherwise noted, all content is © Cengage.
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Brief Contents iii
Brief Contents
Preface xxii III. Research and Writing 357
I. The Writing Process 1 19 Planning Your Research 359
20 Doing Research 375
1 Getting Started 3 21 Practicing Research Ethics 411
2 Reading Critically 19 22 Drafting Research Papers 429
3 Viewing Critically 35 23 MLA Style 453
4 Planning Your Piece 47 24 APA Style 491
5 Drafting: From Paragraphs to
Essays 59 IV. Handbook 521
6 Revising Your Draft 73
7 Polishing Your Prose 89 25 Understanding Grammar 523
8 One Writer’s Process 109 26 Constructing Sentences 545
27 Avoiding Sentence Errors 555
II. Modes of Writing 125 28 Marking Punctuation 571
29 Checking Mechanics 595
9 Forms of College Writing 127 30 Using the Right Word 617
10 Personal Writing 137 31 Multilingual and ESL
11 Analytical Writing: Guidelines 633
Definition 163
12 Analytical Writing: Index 665
Classification 185
13 Analytical Writing:
Process 205
14 Analytical Writing:
Compare and Contrast 227
15 Analytical Writing:
Cause and Effect 247
16 Reading Literature:
A Case Study in Analysis 271
17 Persuasive Writing: Strategies for
Argumentation 295
18 Persuasive Writing: Positions,
Actions, and Solutions 321
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iv Contents
Contents Recite 23
Review 23
Thematic Contents for Readings xvi Critical Thinking Through Reading 24
Preface xxii Maintain Focus and Attention 24
Sample: “Why Change Is So Hard:
I. The Writing Process Self-Control Is Exhaustible,” Dan
Heath 24
1 Getting Started 3 Map the Text 26
The Writing Process: Outline the Text 26
From Start to Finish 4 Evaluate the Text 27
Consider the Writing Process 4 Taking Notes Actively 28
Adapt the Process to Your Project 5 Annotate the Text 28
Aiming for Writing Excellence 6 Create a Double-Entry Notebook 29
Common Traits of College Writing 6 Responding to a Text 30
Common Traits in Action 7 Guidelines for Response Writing 30
Sample: “Hair Today, Gone Summarizing a Text 31
Tomorrow” 7 Guidelines for Summary Writing 31
Understanding Your Project 8 Engaging with Social Media 32
Analyze the Rhetorical Situation 8 Revisit the Rhetorical Situation 32
Study the Assignment 9 Beware of Bias 33
Developing a Topic 10 Avoid Confirmation Bias 33
Limit the Subject Area 10 Reading Critically: Applications 34
Conduct Your Search 10 Learning-Objectives Checklist 34
Explore Possible Topics 11
Freewrite to Discover and 3 Viewing Critically 35
Develop a Topic 12 Viewing an Image Actively 36
Researching Your Topic 14 Follow Active-Viewing Steps 36
Find Out What You Already View a Sample Image 37
Know 14 Interpreting an Image 38
Ask Questions 15 Interpret a Sample Image 39
Identify Possible Sources 16 Evaluating an Image 40
Track Sources 17 Consider the Purpose 40
Getting Started: Applications 18 Evaluate the Quality 40
Learning-Objectives Checklist 18 Determine the Value 40
2 Reading Critically 19 Evaluate a Sample Image 41
Critiquing a Video 42
Cultivating Critical-Thinking
Habits 20 Before Viewing 42
Adopt a Critical-Thinking During Viewing 42
Mindset 20 After Viewing 43
Ask Probing Questions 21 Detecting Misinformation 44
Activate a Thinking Pattern 21 Deepfakes 44
Using the SQ3R Reading Strategy 22 Deceptive Edits 44
Survey 22 Out-of-Context Images 44
Question 22 Doctored Images 45
Read 23 Visual Misinformation:
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Contents v
A Case Study 45 Advance Your Thesis 66
Viewing Critically: Applications 46 Test Your Ideas 66
Learning-Objectives Checklist 46 Make Writing Moves 67
Ending Your Draft 70
4 Planning Your Piece 47 Reassert the Main Point 70
Forming Your Thesis Statement 48 Urge the Reader 70
Find a Focus 48 Complete and Unify Your
State Your Thesis 48 Message 71
Refine Your Thesis 49 The Last Step in Drafting: Your
Developing a Plan or an Outline 50 Working Title 71
Discover Organization in Your Drafting: Applications 72
Thesis 50 Learning-Objectives Checklist 72
Refer Back to Your Prewriting 50
Structure Your Writing for the 6 Revising Your Draft 73
Development of Ideas 50 Tips for Revising Your Work 74
Consider Inductive and Deductive Use Practical Strategies 74
Patterns 51 Consider Your Overall Approach 74
Experimenting with Mapping Revising Your Ideas 75
Methods 52 Test Your Ideas 75
Quick Lists 52 Test Your Evidence 76
Topic Outline 53 Revising Your Organization 77
Sentence Outline 54 Check Your Overall Plan 77
Writing Organizers 55 Revisit Your Opening 77
Planning the Design of Your Test the Flow of Ideas 78
Project 55
Revisit Your Closing 78
Consider the Rhetorical Situation 55
Revising Your Voice 79
Choose Design Elements 56
Check the Level of Commitment 79
Consider Multimodal Elements 57
Check the Intensity 79
Planning Your Piece: Applications 58
Strengthening Your Body
Learning-Objectives Checklist 58 Paragraphs 80
5 Drafting: From Paragraphs to Remember the Basics 80
Essays 59 Keep the Purpose in Mind 80
Check for Unity 81
Basic Essay Structure: Major Moves 60
Check for Coherence 83
Tips for Drafting 61
Check for Completeness 85
Drafting Paragraphs 61
Revising Collaboratively 86
Types of Paragraphs 61
Know Your Role 86
Use a Basic Pattern for Body
Paragraphs 62 Provide Appropriate Feedback 86
Vary Your Paragraph Style 63 Respond According to a Plan 87
Opening Your Draft 64 Revising Your Draft: Applications 88
Engage Your Reader 64 Learning-Objectives Checklist 88
Establish Your Direction 64 7 Polishing Your Prose 89
Get to the Point 65
Tips for Polishing Your Prose 90
Developing the Middle 66
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vi Contents
Copyright 2022 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Contents vii
Personal Essays: Learning Writers’ Defining Ethnic and Racial
Moves 149 Attitudes 177
Exploring Our Relationship with Sample: “Dead Indians,” Thomas
Death 149 King 177
Sample: “Speaking Ill of the Dead,” DIY: Craft Your Own Definition
Rachel Ten Hove 149 Essay 182
Exploring an Immigrant Identity 152 Planning 182
Sample: “It Took Me 18 Years to Drafting 183
Embrace My Name,” Fiza Revising 183
Pirani 152 Polishing 183
Examining a Failed Institution 156 Publishing 183
Sample: “What I Learned in Prison,” Definition Essays: Applications 184
James Kilgore 156
Learning-Objectives Checklist 184
DIY: Craft Your Own Personal
Essay 160 12 Analytical Writing: Classification 185
Planning 160 Meeting the Mode 186
Drafting 161 Sample: “Why We Lift,” Hillary
Revising 161 Gammons 186
Polishing 161 Converse with the Mode 187
Publishing 161 Strategies for Writing Classification
The Personal Essay: Applications 162 Essays 188
Learning-Objectives Checklist 162 The Rhetorical Situation 188
Principles of Classification
11 Analytical Writing: Definition 163 Writing 188
Meeting the Mode 164 Patterns for Classification Essays:
Sample: “The Gullible Family,” Mary Thesis Thinking 189
Bruins 164 Patterns for Classification Essays:
Converse with the Mode 165 Writing Moves 190
Strategies for Writing Definition Classification Essays: Learning Writers’
Essays 166 Moves: 191
The Rhetorical Situation 166 Analyzing Forms of Music 191
Principles of Definition Writing 166 Sample: “Latin American Music: A
Patterns for Definition Essays: Thesis Diverse and Unifying Force,”
Thinking 168 Kathleen Marsh 191
Patterns for Definition Essays: Writing Analyzing Artificial Intelligence 195
Moves 169 Sample: “Understanding the Four
Definition Essays: Learning Writers’ Types of AI: From Reactive Robots
Moves 170 to Self-Aware Beings,” Arend
Explaining a Misunderstood Hintze 195
Term 170 Approaches to Literary Criticism 199
Sample: “How ‘Namaste’ Flew Away Sample: “Four Ways to Talk About
from Us,” Kumari Devarajan 170 Literature,” John Van Rys 199
Examining the Changing Meaning of a DIY: Craft Your Own Classification
Social Phrase 173 Essay 202
Sample: “The History of ‘Coming Planning 202
Out’: From Secret Gay Code to Drafting 203
Popular Political Protest,” Abigail Revising 203
Saguy 173 Polishing 203
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
viii Contents
Copyright 2022 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Contents ix
Analyzing Password Protection 254 Sample: “The Revenant: A Brutal
Sample: “1$_Your_P@$$wOrd_ Masterpiece,” by James C.
Cl3v3r?,” Scott Reichelt 254 Schaap 284
Analyzing the African American Literary Terms 288
Experience of Baseball 259 Poetry Terms 291
Sample: “On the 100th Anniversary of DIY: Craft Your Own Literary
the Negro Leagues: A Look Back at Analysis 292
What Was Lost,” Rob Ruck 259 Planning 292
Analyzing a Trend 263 Drafting 292
Sample: “The Rise of the New Revising 293
Groupthink,” Susan Cain 263 Polishing 293
DIY: Craft Your Own Cause-Effect Publishing 293
Essay 268
Analyzing Literature: Applications 294
Planning 268
Learning-Objectives Checklist 294
Drafting 269
Revising 269 17 Persuasive Writing: Strategies for
Polishing 269 Argumentation 295
Publishing 269 Meeting the Mode 296
Cause-Effect Essays: Applications 270 Sample: “America Needs a Ministry of
Learning-Objectives Checklist 270 (Actual) Truth,” Josh Wilbur 296
Converse with the Mode 300
16 Reading Literature: A Case Study in
Structuring Arguments 301
Analysis 271
Understand Toulmin
Strategies for Analyzing Literature and Argumentation 301
the Arts 272 Toulmin Patterns 302
The Rhetorical Situation 272 Understand Rogerian
Principles of Literary-Analysis Argumentation 302
Writing 272 Rogerian Patterns 303
Patterns for Literary-Analysis Essays: Choose an Approach 304
Thesis Thinking 275
Engaging the Opposition 305
Patterns for Literary-Analysis Essays:
Writing Moves 276 Make Concessions 305
Analyzing Literature: Learning Writers’ Develop Rebuttals 305
Moves 277 Consolidate Your Claim 305
Analyzing a Poem 277 Arguing Through Appeals 306
Sample: “Let Evening Come,” Jane Appeal to Ethos 306
Kenyon 277 Appeal to Pathos 306
Sample: “‘Let Evening Come’: An Appeal to Logos 307
Invitation to the Inevitable,” Making and Qualifying Claims 308
Sherry Mantel 278 Distinguish Claims from Facts and
Sample: “The World Is Too Much With Opinions 308
Us,” William Wordsworth 280 Distinguish Three Types of
Analyzing a Short Story 281 Claims 308
Sample: “‘A Clean, Well-Lighted Place’: Develop a Supportable Claim 309
Emotional Darkness,” by Julia Supporting Your Claims 310
Jansen 281
Gather Evidence 310
Analyzing a Film 284
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x Contents
Copyright 2022 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
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Contents xi
Preparing a Résumé B-11 III. Research and Writing
Sample Résumé B-12
Sample Electronic Résumé B-13 19 Planning Your Research 359
Your Project: Writing a Research
C Preparing Oral Presentations C-1 Proposal 360
Organizing Your Presentation C-2 Understand the Parts of a Research
Prepare an Introduction C-2 Proposal 360
Develop the Body C-3 Sample: “Film Studies 201 Proposal:
Come to a Conclusion C-4 Jane Austen’s Pride and Prejudice
Hold a Q & A Session C-4 as Fiction and Film,” Gwendolyn
Mackenzie 360
Writing Your Presentation C-5
Research: An Overview 362
Sample Speech C-6
The Research Process 362
Sample: “Save Now or Pay
Later,” Burnette Sawyer C-6 The Research Frame of Mind 363
Use Visual Aids C-8 Getting Focused 364
Developing Digital Presentations C-9 Establish a Narrow, Manageable
Topic 364
Overcoming Stage Fright
Checklist C-10 Brainstorm Research Questions 364
Develop a Working Thesis 365
D Multimodal Projects D-1 Understanding Primary, Secondary,
Meeting Multimodal Texts D-2 and Tertiary Sources 366
Converse with the Mode D-3 Primary Sources 366
Strategies for Crafting Multimodal Secondary Sources 366
Texts D-4 Tertiary Sources 367
The Rhetorical Situation D-4 Exploring Information Resources and
Principles of Multimodality D-4 Sites 368
Patterns for Multimodal Texts: Thesis Consider Different Information
Thinking D-6 Resources 368
Patterns for Multimodal Texts: Consider Different Information
Composing Moves D-7 Sites 369
Multimodal Texts: Learning Planning Keyword Searches 370
Composers’ Moves D-8 Choose Keywords Carefully 370
Poking Fun at Technology Learn Keyword Strategies 371
Dependency D-8 Building a Working Bibliography 372
Sample: “Slowpoke,” Jen Sorensen D-9 Select an Efficient Approach for Your
Blogging About a Historical Project 372
Figure D-10 Developing a Research Plan 373
Sample: “‘Hamilton,’—About Choose Research Methods 373
Alexander and Eliza’s Last Get Organized to Do Research 373
Goodbye,” Neely Tucker D-10
Planning Your Research:
Craft Your Own Multimodal Text D-13 Applications 374
Multimodal Projects: Learning-Objectives Checklist 374
Applications D-15
Learning-Objectives Checklist D-15 20 Doing Research 375
Your Project: Creating an Annotated
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xii Contents
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Contents xiii
Traditional Organizational Optional Elements 467
Patterns 433 Sample Works-Cited Entries 468
Considering Drafting Strategies 434 Books 468
Choose a Drafting Method 434 Periodical Articles 470
Respect Your Sources While Interviews and Personal
Drafting 434 Correspondence 471
Reason with the Evidence 435 Multimedia Works 472
Using Source Material in Your Government Publications,
Writing 436 Reference Works, and Other
Integrate Source Material Documents 473
Carefully 436 Two or More Works by the Same
Effectively Document Your Author 474
Sources 438 MLA Format Guidelines 475
Mark Changes to Quotations 439 MLA Format at a Glance 475
Sample Research Paper: A Humanities Whole-Paper Format and Printing
Essay 440 Issues 476
Sample: “Chipping Away at Our Typographical Issues 477
Privacy?,” Lucas Koomans 440 Page-Layout Issues 478
Sample Research Paper: Science Formatting Non-Print Media 479
IMRAD Report 445
Sample MLA Paper 479
Sample: “The Effects of the Eastern
Red Cedar on Seedlings and Sample Paper: Format, In-Text
Implications for Allelopathy,” Citation, and Works-Cited
Dana Kleckner, Brittany Korver, List 480
Nicolette Storm, and Adam Sample: “Consequences of Childhood
Verhoef 445 Staples: Do Barbies and Disney
Drafting a Research Paper: Princesses Do More Harm Than
Applications 452 Good to Girls’ Self-Esteem?,” Annie
Sears 480
Learning-Objectives Checklist 452
MLA Style: Applications 490
23 MLA Style 453 Learning-Objectives Checklist 490
MLA Documentation: Quick 24 APA Style 491
Guide 454
In-Text Citation: The Basics 454 APA Documentation: Quick
Guide 492
Works Cited: Nine Core
Elements 455 In-Text Citation: The Basics 492
Guidelines for In-Text Citations 456 References: The Basics 493
Citations for Regular Sources 456 Guidelines for In-Text Citations 494
Citations for Sources Without The Form of an Entry 494
Traditional Authorship and/or Points to Remember 494
Pagination 457 Sample In-Text Citations 494
Sample In-Text Citations 458 Guidelines for APA References 498
Guidelines for Works-Cited Sample Reference Entries 499
Entries 464 Books and Other Documents 499
Works-Cited Template 464 Print Periodical Articles 502
Works-Cited Components 464 Online Sources 504
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xiv Contents
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Contents xv
29 Checking Mechanics 595
Capitalization 595
Exercises 599
Plurals 600
Numbers 602
Exercises 604
Abbreviations 605
Acronyms and Initialisms 607
Exercises 608
Basic Spelling Rules 609
Commonly Misspelled Words 610
Steps to Becoming a Better Speller 615
Exercises 616
Index 665
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xvi Thematic Contents
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Thematic Contents xvii
“Why ‘Latinx’ Is Succeeding . . . ” by Katy Steinmetz 338
“Why We Care About Whales” by Marina Keegan 236
“Why We Lift” by Hillary Gammons 186
“Yogurt: Milk & Mayhem” by Nina Mukerjee Furstenau 216
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xviii Thematic Contents
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Thematic Contents xix
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xx Thematic Contents
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Thematic Contents xxi
Acknowledgements
The authors express their gratitude to the following reviewers of The College Writer, 7th
Edition.
Gary Beagle, Southcentral Kentucky Community and Technical College
Robert Galin, University of New Mexico
Rebecca Hoffman, Northeast Wisconsin Technical College
Jonathan Joy, Ashland Community and Technical College
Debra Justice, Ashland Community and Technical College
Gail McGrady, Southcentral Kentucky Community and Technical College
Kelly Paul, West Kentucky Community and Technical College
Rachel Pierce, Miles College
Amber Ridgeway, Southwestern Oregon Community College
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xxii Preface
Preface
Wherever students are in their writing process or however confident they feel about writing,
The College Writer is a resource they can turn to for guidance and support. Valuable for student
writers of any skill level, this book is a fully updated four-in-one text with major sections on
the writing process, modes of writing, research and writing, and grammar, punctuation, and
usage. Throughout the text, numerous student and professional writing samples highlight
important features of academic writing—from organization to documentation—and model
strategies students can use in their own papers.
The seventh edition features increased attention to the role of critical reading and
paragraph writing in the composing process, updated sample essays focused on timely and
inclusive topics, a stronger emphasis on evaluating and composing multimodal texts, and
friendly organization that directly leads students through the process of composing critical
academic and research-based essays. The text is available as a multimedia online learning
experience, featuring an e-book, audio, video, exercises, models, web links, and bonus
chapters on multimodal projects, taking tests, writing for the workplace, and preparing oral
presentations.
New Features
• Twenty-one NEW sample essays, 8 from students and 13 from professionals, offer
fresh perspectives on relevant, current topics—from embracing identity to culturally
significant food to problematizing racialized Internet GIFs. Perfect for discussion,
these essays will also inspire students’ writing. New professional writers include
Fiza Pirani, Thomas King, Abigail C. Saguy, Kumari Devarajan, Arend Hintze, Nina
Mukerjee Furstenau, Rob Ruck, William Wordsworth, Josh Wilbur, Naomi Day,
Katy Steinmetz, and Kurly Tlapoyawa. New student writers tackle topics such as
homelessness, online security, food and identity, and arranged marriages.
• REORGANIZED chapters in Part 1, “The Writing Process,” help students fully
integrate critical thinking, reading, and viewing into their writing process. The NEW
chapter 2, “Reading Critically,” introduces students to active-reading strategies
for analyzing, evaluating, and responding to texts. This chapter also gives special
attention to engaging with social media and detecting bias. The NEW chapter 3,
“Viewing Critically,” shows students how to actively view, understand, and critique
images and video. New pages feature strategies for detecting visual misinformation.
• An ENHANCED chapter 5, “Drafting: From Paragraphs to Essays,” features
increased attention to crafting opening, body, and closing paragraphs, highlighting
how paragraphs serve as a line of reasoning and showing how to link them together
into a full essay. Additions to the chapter help students examine paragraphs at the
sentence level, showing how different types of sentences—topic, reasoning, evidence,
and concluding—can interact to create strong academic paragraphs.
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Preface xxiii
• Chapters in Part II, “Modes of Writing,” feature REWORKED pedagogy and
increased writing instruction to help students to more effectively produce
thoughtful, energetic college-level prose. The chapters now begin with a brief
teaching model that introduces students to the mode. Following the teaching model,
the chapters include increased instruction on thesis development and mode-specific
writing moves and strategies. Students then see those moves in action as they read
and respond to exemplary sample essays from student and professional writers. New
reading topics address current issues of interest and concern to a diverse student
body. As culminating support, students receive process-based writing instructions
for creating their own essay within the mode.
• Each chapter in Part III, “Research and Writing,” now includes a specific form of
research writing that students can complete while they receive instruction on how
to find and engage with sources ethically. NEW research forms include a literature
review and annotated bibliography. The progression of chapters in Part III
highlights the interplay of writing and research, not just in the final large research-
paper project but throughout the research process.
• ENHANCEMENTS to chapters in Part III also include additional material
on research ethics, including examining online sources critically, identifying
misinformation, recognizing filter bubbles and confirmation bias, and questioning
the “fake news” and “alternative facts” concepts.
• UPDATED instruction in Chapter 24, “APA Style,” aligns with changes in the APA
Style Guide, 7th Edition.
Key Features
• The College Writer provides students with a concise yet complete overview of
the writing process. The text’s unique “at-a-glance” visual format presents each
major concept in a one- or two-page spread, with examples illustrating explanations,
and then the opportunity for hands-on practice, with writing assignments or
practice exercises.
• Consistent attention to the rhetorical situation—writer, reader, message, medium,
and context—gives students a tool to analyze the works of others and create their
own works.
• “Learning Objectives” at the beginning of each chapter help students focus on
key learning points; main headings throughout the chapter reinforce those points;
and “Learning-Objective Checklists” enable students to track their performance.
• “Common Traits of College Writing,” introduced in chapter 1 and then
underlying much of the instruction in the text, help students understand
and achieve college-level writing. These traits are also in sync with the “WPA
Outcomes Statement for First-Year Composition.”
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
xxiv Preface
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Preface xxv
parents’ eyes.
334
for their children, quiet assimilation to White America was a signifier of success in my
Modes of Writing
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
xxvi Preface
Copyright 2022 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Preface xxvii
Enhanced Instruction on Reading and Viewing Critically: Chapter 2, “Reading Critically,”
introduces active-reading strategies for analyzing, evaluating, and responding to texts.
Special attention is given to engaging with social media and detecting bias. Chapter 3,
“Viewing Critically,” shows students how to actively view, understand, and critique images
and video. New pages feature strategies for detecting visual misinformation.
Message: What does the message say (topic, main point, support)?
Discussion: Evaluate the content. What parts capture your attention? Is the
information fair and logical? What points of view are shared? Which ones are
left out? What other sources—if any—confirm the information? If the message
includes a video or link, weigh its information as well.
Deceptive Edits
Deceptive editing involves cutting and rearranging a video and presenting it as a full
narrative. For instance, a political ad may cut out a large portion of an opponent’s speech
to make it seem more inflammatory than it really was. Other techniques involve splicing
together disparate videos to create a brand new story, or speeding up the frame to make
someone’s actions appear more aggressive than they actually were.
How to detect deceptive editing: The best way to combat deceptive editing is to view
the original video in its full length. Also, go to fact-checkers like Snopes, Media
Matters, or The Washington Post Fact Checker to get more information.
Out-of-Context Images
The deceptive editing techniques described above intentionally distort the context of events.
Another common form of misplaced context involves recycling old photographs or videos
and presenting them as evidence in relation to a current event.
How to detect out-of-context images: The best way to discover an image used out
of context is to perform a reverse image search. This will show you a list of other
places the photo has appeared online. Simply right click on the image, and choose
“Search Google for image.” Also, read captions and source information to identify
the photographer and the original publisher.
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
xxviii Preface
Increased Instruction in the Modes of Academic Writing: Chapters in Part II, “Modes
of Writing,” feature reworked pedagogy and enhanced writing instruction to help students
more effectively produce thoughtful, energetic college-level prose. Each chapter in Part II
includes . . .
• A brief teaching model to introduce students to the mode.
• Increased instruction on thesis development and mode-specific writing moves and
strategies.
• New exemplary sample essays from student and professional writers showing the
mode in action.
• Process-based writing instructions for creating an original essay within the mode.
Compare-Contrast Blueprints
Point by Point Whole vs. Whole Similarities-Differences
Beginning Beginning Beginning
Point A
Subject 1 Similarities
Subject 1 Subject 2
Point B Subject 2 Differences
Subject 1 Subject 2
Ending Ending Ending
fig. 14.3
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Preface xxix
Updated Chapter 24 Instructions on APA Documentation and Style (7th edition): Clear
instructions and illustrations help students understand and use the current APA system for
documenting research writing. The new system is introduced through an easy-reference
quick guide, presented through clear examples, and modeled in new student essays.
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Another random document with
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wegblies. Nur das Allerfeinste war stehen geblieben. Hierauf rief er
den Wirbelwind, der den Acker ganz frei fegte. Tatutunpa bat die
Papageien um Samen, sie kamen aber mit untauglichen
Samenkörnern, die alle entzwei waren. Als er sah, daß diese Samen
nichts taugten, bat er die Enten und Tauben und die ganz kleinen
Tauben, sie möchten mit allerlei Samen kommen, und diese taten es
auch. Sie säeten sogar selbst. Als die Saat beendet war, begab sich
Tatutunpa auf dem Wege, der nach seinem Hause führte, heim. Er
war noch nicht weit gekommen, da drehte er sich um, um nach
seinem Acker zu sehen. Er sah, daß die Pflanzen schon zu keimen
begannen. Wieder ging er ein Stück und wendete sich wieder um,
um nach seinem Acker zu sehen. Die Pflanzen waren schon groß.
Wieder ging er weiter und drehte sich wieder um. Da fand er seinen
Acker schon in Blüte. In der Nähe seines Hauses wandte sich
Tatutunpa wieder um, um nach seinem Acker zu sehen, und fand,
daß alles, was er gesäet hatte, schon reife Früchte trug.
Bei Aguaratunpa, der so fleißig gearbeitet hatte, war noch nichts
reif oder in Blüte.
Am folgenden Tage sagte Tatutunpa zu seiner Frau: „Wir wollen
gehen, um nach unserem Acker zu sehen. Sie gingen nach dem
Acker und die Frau sah, daß alle Früchte reif waren. Tatutunpa gebot
ihr, ein Feuer anzumachen, um Mais und alle anderen Früchte zu
rösten. Er sagte ihr, sie solle einen Maiskolben, zwei Bohnen und
einen Kürbis ausgraben, aber nicht mehr. Nicht einmal dies
vermochten sie aufzuessen.
Danach gingen sie nach Hause und sagten zu der Alten, sie solle
mit ihnen kommen und alles abernten, was sie zu essen wünsche.
Die Alte glaubte ihnen nicht, sondern glaubte, sie hätten gestohlen.
Sie konnte nicht glauben, daß sie etwas zu ernten hätten, da sie
nicht gearbeitet hatten. „Ich gehe lieber zu meiner anderen Tochter,
die fleißig gearbeitet hat“, sagte die Alte.
Aguaratunpa begab sich nun zu Tatutunpas Acker und stahl
Kürbisse, die er nach seiner Anpflanzung brachte. Mit Stäbchen und
Dornen befestigte er die Kürbisse an den halbgewachsenen
Kürbisstengeln. In der Dämmerung kehrte er heim und sagte zu
seiner Frau, sie solle ihre Mutter bitten, in seinem Acker Kürbisse zu
ernten. Die Tochter ging zu ihrer Mutter und sagte: „Wir wollen nach
dem Acker gehen, um Kürbisse zu holen.“ Vergnügt machte die Alte
sich auf den Weg, denn sie hatte gesehen, daß sie viel gearbeitet
hatten, und sie glaubte ihrer Tochter. Sie gingen, fanden aber nicht
mehr Kürbisse, als wie sie in einer Getreideschwinge einernten
konnten.
Am folgenden Tage bat wieder Tatutunpas Frau ihre Mutter, mit
aufs Feld zu kommen. Die Alte glaubte ihr gar nicht, als aber der
Alte, ihr Mann, sah, daß sie so hartnäckig waren, befahl er ihr, zu
gehen. Ärgerlich machte sich die Alte auf den Weg. Tatutunpa ging
vor ihr, auf seiner Pfeife flötend. Als sie auf den Acker kamen, sah
die Alte, daß er voll von allerlei Früchten, Mais, Kürbissen, Bohnen
und Kalebassen war. Die Alte wurde richtig vergnügt, sie konnte ihre
Freude kaum mäßigen.
Als sie nach dem Ackerrain kam, sah sie eine gewaltige
Kalebasse und sagte zu ihrer Tochter, diese wünsche sie für sich.
Während sie plauderten, fiel die Kalebasse auf die Alte, diese fiel hin
und konnte sich infolge der schweren Kalebasse, die sie drückte,
kaum bewegen. Die Tochter kam ihr zu Hilfe und versuchte die
Kalebasse zu heben, sie vermochte es aber nicht. Sie rief ihrem
Manne zu, er solle kommen und ihr helfen. Dieser blieb jedoch eine
lange Weile fort, und erst als die Alte dem Tode nahe war, kam er,
hob die Kalebasse auf und setzte sie wieder an ihrem alten Platze
fest. Die halbtote Alte hob er auf.
Als sie sich nach einem Weilchen erholt hatte, sahen sie sich
weiter den Acker an. Die Alte wollte einen Maiskolben abbrechen.
Tatutunpa sagte ihr, sie solle seinen Acker schonen und nur den
Kolben abbrechen. Sie erntete nun zwei Maiskolben und zwei von
allen anderen Früchten, ohne etwas zu zerstören. Alles, was sie
abgeerntet hatte, setzte sofort wieder reife Früchte an. Mit den
Früchten beladen, ging sie nach Hause. Sie erzählte ihrem Manne,
daß Tatutunpa schon einen großen Acker habe. „Das ist somit der
Tatutunpa, den wir haben kommen lassen“, sagte der Alte.
„Aguaratunpa hat uns betrogen.“
Am folgenden Tag sagte Tatutunpa zu seiner Frau: „Wir wollen
nach unserem Acker gehen.“ Sie gingen dorthin. Er grub nun ein
Loch, in welchem er ein Feuer machte. Als das Loch richtig warm,
richtig rot war, nahm er eine sehr große Kalebasse und kroch in
dieselbe hinein. Er bat seine Frau, die Kalebasse zuzustopfen, in die
warme Grube zu legen und die Kalebasse, wenn er pfeife,
umzudrehen, damit er hinaus könne. Die Frau tat so, wie er gesagt
hatte. Als er pfiff, drehte sie die Kalebasse um und Tatutunpa kam
heraus, schön und jung, mit allen seinen alten Schmucksachen
geschmückt.
Nach einem Weilchen wärmte Tatutunpa die Grube wieder und
seine Frau kroch in die Kalebasse. Er bedeckte diese und warf sie in
die Grube. Als sie pfiff, drehte er die Kalebasse um. Jung und schön
kam sie aus derselben.
Sie kehrten nach Hause zurück und nahmen ein
Quebrachostäbchen mit, um damit Feuer anzumachen. Als sie nach
Hause kamen, war die Alte mit dem Brauen von Maisbier
beschäftigt.
„In dieser Nacht wird es sehr kalt und deshalb habe ich dieses
Stäbchen mitgenommen, damit wir etwas haben, woran wir uns
wärmen können“, sagte Tatutunpa. Aguaratunpa hatte viel „Tartago“-
Holz mit nach Hause genommen, es reichte aber nicht die ganze
Nacht. Mitten in der Nacht war das Holz zu Ende. Er ging zur
Feuerstätte seiner Schwiegermutter, die beim Maisbierkochen war.
Als die Alte sah, daß ein Fuchs sich zu ihrem Feuer schlich, steckte
sie ein Stück Holz in Aguaratunpas Hinteren. Mit dem Holz im
Hinteren sprang er davon, für immer in einen Fuchs verwandelt.
Ü b e r d e n S o h n v o n Ta t u t u n p a u n d w i e e r s e i n e
Mutter gerettet hat.
D e r M a n n , d e r s i c h m i t d e r To c h t e r d e s
Donnergottes, Chiqueritunpa, verheiratete.
„Choihuihuis“ Frauenraub.
W i e A g u a r a t u n p a Ta t u t u n p a t ö t e t e u n d d a n n s e l b s t
getötet wurde.
Abb. 130. Silberne Nadel zur Befestigung des Tiru. Die Form indianisch, die
Ornamente spanisch. Chiriguano. Parapiti. ⅓.