CloseReading Assignment: Use the closereading guide. Using evidence from the text, draw conclusions about one or more of the themes. When you think about theme, you are answering the questions: What is this novel about? What point is the author attempting to address? Write a several paragraph analysis.
The best professional development is conversation; educators talking with other educators to problem solve, celebrate, and dream into the future for their students. We are delighted our book, Falling in Love with CloseReading: Lessons for Analyzing Texts—and Life, will be one part of your conversation this year.
The next topic that was analysed in the literature review was closereading. This topic led to the conclusion that the info-card has to do justice to the key features of closereading. These key features are the use of short and complex texts, organising multiple readings, formulating text- dependent questions, encouraging dialogic discussion, encouraging the use of annotations and a limited frontloading of students (Brown & Kappes, 2012; Fisher & Frey, 2012a). In practice, teachers showed great content with the amount of guidelines with regard to the key features. Besides, the analysis of the topic closereading gave insight in the structure of closereading that should be implemented in the info-card. Closereading has to take place in three lessons, sometimes complemented with pre-teaching sessions and extra instructional moments (Shanahan, 2013). The designed info-card adds an evaluation-phase to every lesson as well which deviates from the design guidelines. However, the iterative cycles showed great satisfaction of teachers with this part of the info-card: “Especially the inclusion of the evaluation is a plus in this instrument. It reminds you, as a teacher of adjusting your following steps to the needs of your students”. This is exactly the core of differentiation and this evaluation phase is therefore valuable to the info-card. Another important feature of closereading lessons is the use of the Gradual Release of Responsibility Instructional Model, which should therefore be applied to the info-card (Fisher & Frey, 2008). Teachers indicated to be unfamiliar with this instructional model. However, they experienced a great overlap with the direct instructional model they mostly use, which enables them to work with this structure. The overlap with the direct instructional model is therefore relevant for both practice and science.
Somewhere between these micro and telescopic scales sits David Mitchell’s Cloud Atlas (2004), the text to which I turn my focus in this article. This novel, divided as it is into six generically distinct registers, with a pyramid-style cascade towards the future in which each section breaks halfway only to move to the next, deals with a vast and telescopic history. Casey Shoop and Dermot Ryan, for instance, locate the novel within the space of ‘Big History’ (Shoop and Ryan 101). On the other hand, almost every critic of the novel has remarked upon the linguistic play of the text and Mitchell’s seeming protean ability to shift between genre styles at will (see, for just a small collection, O’Donnell; Dimovitz; Hopf). Critics have also noted the novel’s incursion into the digital space, with its imitations of new media ecologies that John Shanahan has called the text’s “digital transcendentalism” (Shanahan). It was, then, the way in which Cloud Atlas mediates a colossal philosophical historiography through minute and detailed attention to linguistic morphology within a new media frame that attracted me to use the novel as a study of what might be possible for digital closereading and that I here present. For Cloud Atlas seems to effect the very compression of reading labor time that is desired from computational approaches to big literary history through its language games.
The project that I have been working on for some time is called CloseReading with Computers. I am turning to the ways in which computational methods might be used to study single texts and to reintegrate the data findings of these explorations with more traditional literary-critical practices. For, as Lisa Gitelman puts it in the title of her edited collection: there is no such thing as “raw” data; all data-driven processes require hermeneutics. I would also note that I am hardly the only scholar working in such a space of textual analysis.
John Holloway in his introduction to Penguin edition of Little Dorrit says, “Dickens did not compose Little Dorrit with the thought of striking a blow for reform. He hardly believed that reform was possible” (19). In actual instance Dickens expressed his wish and would have the “opportunity of recording the extermination of some wrong or abuse set forth within it (46). Holloway put forward a modified theme because “its vision, structure, development, and resolution has a unity that is more sensed in reading than preserved in formulation”, and he goes on to continue, “it may help to no- tice how the often idea of imprisonment is to do with that of seeming as of being” (Holloway 21). Holloway goes on say that imprisonment as a theme and a fact plays an important role in this new reform such as William Dorrit’s escape from prison underlines the real imprisonment he and rest of the characters of the novel share that, “present is imprisoned in the past”(Holloway 22). Holloway concludes it as;
The ACT College Readiness Benchmark for Reading is 22. Students who achieve this score on the ACT Reading Test have a 50% likelihood of achieving a B or better in a first-year social science course at a typical college. The knowledge and skills highly likely to be demonstrated by students who
Great example of the importance of reading closely and asking what each line means or says; and how it relates to previous lines. You read it normally as if it were a regular sentence/prose, but then go back over it and sort of pause and put it all together like a jigsaw puzzle or ‘connect-the- dots’ exercise.
The prevalence of silent e’s in traditional orthog- raphy undeniably diminishes its morphemic con- sistency. Nor is the device necessary to represent the pronunciation of the preceding vowel; for ex- ample, SoundSpel has those words as ‘maek’ and ‘maeking’. However, one can argue that such mi- nor alterations should not be penalized because En- glish speakers subconsciously take them into ac- count while reading. In the next section, we describe an experiment in which we pre-process words with such orthographic rules, in order to determine how much they influence the optimality picture.
country, in order to trace the footsteps of my great-grandfather. Being Close to Far Away explores a post-traumatic environment in Vorkuta, Russia, a former location of the Gulag, and the camp where my great-grandfather was imprisoned. The Gulag was shrouded in secrecy by the Soviet Government until the death of Stalin, and my great-grandfather disappeared behind this shroud for seven years (1948-1955). This thesis project is in part to reclaim those years for him, for myself, and for my family. I photographed the prison sites extensively. I did so in order to explore the traces and scars of the Gulag.