23 Matching Annotations
  1. Feb 2021
    1. In my 2017 article forHybridPedagogy, “Learning at the Intersections”,

      Should this be linked? Article

    2. this policy

      Replace "this" with "political"

    3. This moment

      Can we make this the first sentence of the conclusion?

    4. Going from that student

      I think this is a fragment?

    5. we study to the application

      Should there be a comma here?

    6. “MediaBias Chart” (Ad Fontes Media,2021), and then label their article as

      Did you decide against this image?

    7. bubbles, issues

      Missing the conjunction "which are" after the comma.

    8. family history.By asking questions

      Where is the image I provided here?

    9. (American Psychological Association,2019),

      Shouldn't this be linked as well?

    10. Our country is deeply divided, and as a result of—or perhaps at the root of—that chasm there are certain “hot button” topicsthat are sure to ignite controversy.

      Do you feel this is still a mixed metaphor?


  2. Jan 2021
  3. Aug 2018
  4. Aug 2017
  5. Aug 2016
    1. Theory of Mind tests: reading the mind in the eyes (RMET)

      You can take a sample RMET test here, but this does not seem to directly apply to literature as Davies argues. This article does a better job of explaining.

    2. istinction between "writerly" writing and "readerly" writing to that made by Roland Barthes in his book on literary theory, The Pleasure of the Text.

      Compare with the definitions of these terms in original text by Barthes here: PDF of Pleasures. Relevant quote "If I read this sentence, this story, or this word with pleasure, it is because they were written in pleasure (such pleasure does not contradict the writer's complaints). But the opposite? Does writing in pleasure guarantee-guarantee me, the writer-my reader's pleasure? Not at all. I must seek out this reader (must "cruise" him) without knowing where he is, A site of bliss is then created. It is not the reader's "person" that is necessary to me, it is this site: the possibility of a dialectics of desire, of an unpredictabilIty of blIss: the bets are not placed, there can still be a game" (Barthes 4).

    3. "Some writing is what you call 'writerly', you fill in the gaps and participate, and some is 'readerly', and you're entertained. We tend to see 'readerly' more in genre fiction like adventure, romance and thrillers, where the author dictates your experience as a reader. Literary [writerly] fiction lets you go into a new environment and you have to find your own way," Kidd said.

      How can we apply this distinction to the science fiction we are reading in ENG 281 at Stevenson?

    1. stimulating a social world which prompts empathy

      It will be interesting to compare this phenomena across mediums - in literature, film, and virtual reality. Does the medium impact the level of empathy experienced by the audience?

  6. Feb 2016
    1. 2015 study

      It would be useful to have a citation for this study.

    2. Students asked to read a text on-screen thought they could do it faster than students asked to read the same text in print, and did a worse job of pacing themselves in a timed study period. Not surprisingly, the on-screen readers then scored worse on a reading comprehension test.

      Be mindful! Use conscious time-management when assigned a reading online. Without page numbers, it can be hard to gauge how long an online text will take to read.

    3. readers given text on a screen do worse on recall

      Compare to: Ferris Jabr, “The Reading Brain in the Digital Age: The Science of Paper versus Screens.” Web. 21 Aug. 2015. http://www.scientificamerican.com/article/reading-paper-screens/

    4. most written documents were scrolls,

      It is so important to remember that scrolling on a screen is not an entirely new form - it remediates the codex. "Pages" are a form to be critiqued and considered.

    5. “endless, mesmerizing buzz”

      This reminds me of Read E. M. Forster's “The Machine Stops.” (full text online) http://archive.ncsa.illinois.edu/prajlich/forster.html

    6. The Internet’s flood of information, together with the distractions of social media, threaten to overwhelm the interior space of reading, stranding us in what the journalist Nicholas Carr has called “the shallows,” a frenzied flitting from one fact to the next

      Both Katherine Hayles (Hyper and Deep Attention) and Cathy Davidson (Now You See It) write about the benefits of "flitting from one fact to the next," in that it enables us to see connections and patterns across texts.