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Part I: STRUCTURES AND STRATEGIES 1. Summary, Paraphrase, and Quotation What Is a Summary? Can a Summary Be Objective? BOX: Where Do We Find Written Summaries? Using the Summary The Reading Process BOX: Critical Reading for Summary How to Write Summaries BOX: Guidelines for Writing Summaries Demonstration: Summary The Baby in the Well: The Case Against Empathy—Paul Bloom Read, Reread, Highlight Divide into Stages of Thought Write a Brief Summary of Each Stage of Thought Write a Thesis: A Brief Summary of the Entire Passage Write the First Draft of the Summary Summary 1: Combine Thesis Sentence with Brief Section Summaries The Strategy of the Shorter Summary Summary 2: Combine Thesis Sentence, Section Summaries, and Carefully Chosen Details The Strategy of the Longer Summary How Long Should a Summary Be? EXERCISE 1.1: Individual and Collaborative Summary Practice Summarizing Graphs, Charts, and Tables Bar Graphs EXERCISE 1.2: Summarizing Graphs Line Graphs EXERCISE 1.3: Summarizing Line Graphs Pie Charts EXERCISE 1.4: Summarizing Pie Charts Other Charts: Bubble Maps, Pictograms, and Interactive Charts Tables EXERCISE 1.5: Summarizing Tables Paraphrase BOX: How to Write Paraphrases EXERCISE 1.6: Paraphrasing Quotations Choosing Quotations Quoting Memorable Language BOX: When to Quote Quoting Clear and Concise Language Quoting Authoritative Language Incorporating Quotations into Your Sentences Quoting Only the Part of a Sentence or Paragraph That You Need Incorporating the Quotation into the Flow of Your Own Sentence Avoiding Freestanding Quotations EXERCISE 1.7: Incorporating Quotations Using Ellipses Using Brackets to Add or Substitute Words BOX: When to Summarize, Paraphrase, and Quote BOX: Incorporating Quotations into Your Sentences EXERCISE 1.8: Using Brackets Avoiding Plagiarism BOX: Rules for Avoiding Plagiarism 2. Critical Reading and Critique Critical Reading Question 1: To What Extent Does the Author Succeed in His or Her Purpose? BOX: Where Do We Find Written Critiques? Writing to Inform Evaluating Informative Writing Writing to Persuade EXERCISE 2.1: Informative and Persuasive Thesis Statements Evaluating Persuasive Writing THE MOON WE LEFT BEHIND—Charles Krauthammer EXERCISE 2.2: Critical Reading Practice Persuasive Strategies Logical Argumentation: Avoiding Logical Fallacies BOX: Tone EXERCISE 2.3: Understanding Logical Fallacies Writing to Entertain Question 2: To What Extent Do You Agree with the Author? Identify Points of Agreement and Disagreement EXERCISE 2.4: Exploring Your Viewpoints—in Three Paragraphs Explore the Reasons for Agreement and Disagreement: Evaluate Assumptions Inferring and Implying Assumptions An Example of Hidden Assumptions from the World of Finance Critique How to Write Critiques BOX: Guidelines for Writing Critiques Demonstration: Critique To What Extent Does the Author Succeed in His or Her Purpose? To What Extent Do You Agree with the Author? Evaluate Assumptions Model Critique: A Critique of Charles Krauthammer’s “The Moon We Left Behind”—Andrew Harlan EXERCISE 2.5: Informal Critique of the Model Critique BOX: Critical Reading for Critique The Strategy of the Critique 3. Thesis, Introduction, Conclusion Writing a Thesis The Components of a Thesis Making an Assertion Starting with a Working Thesis Using the Thesis to Plan a Structure BOX: How Ambitious Should Your Thesis Be? EXERCISE 3.1: Drafting Thesis Statements Introductions Quotation Historical Review Review of a Controversy From the General to the Specific Anecdote and Illustration: From the Specific to the General Question Statement of Thesis EXERCISE 3.2: Drafting Introductions Conclusions Summary (Plus) Statement of the Subject's Significance Call for Further Research Solution/Recommendation Anecdote Quotation Question Speculation EXERCISE 3.3: Drafting Conclusions 4. Explanatory Synthesis What Is a Synthesis? Summary and Critique as a Basis for Synthesis Inference as a Basis for Synthesis: Moving Beyond Summary and Critique Purpose Example: Same Sources, Different Uses BOX: Where Do We Find Written Syntheses? Using Your Sources Types of Syntheses: Explanatory and Argument What Are Genetically Modified (GM) Foods? Genetically Modified Foods and Organisms—The United States Department of Energy Why a GM Freeze?—The GM Freeze Campaign How to Write Syntheses BOX: Guidelines for Writing Syntheses The Explanatory Synthesis Demonstration: Explanatory Synthesis—Going Up? An Elevator Ride to Space EXERCISE 4.1: Exploring the Topic The History of the Space Elevator—P. K. Aravind Applications of the Space Elevator—Bradley C. Edwards Going Up—Brad Lemley Consider Your Purpose EXERCISE 4.2: Critical Reading for Synthesis Formulate a Thesis Decide How You Will Use Your Source Material Develop an Organizational Plan Summary Statements Write the Topic Sentences BOX: Organize a Synthesis by Idea, Not by Source Write Your Synthesis Explanatory Synthesis: First Draft Revise Your Synthesis: Global, Local, and Surface Revisions Revising the First Draft: Highlights Global Local Surface EXERCISE 4.3: Revising the Explanatory Synthesis Model Explanatory Synthesis: Going Up? An Elevator Ride to Space—Sheldon Kearney BOX: Critical Reading for Synthesis 120 5. Argument Synthesis What Is an Argument Synthesis? The Elements of Argument: Claim, Support, and Assumption Claim Support Assumption EXERCISE 5.1: Practicing Claim, Support, and Assumption The Three Appeals of Argument: Logos, Ethos, Pathos Logos EXERCISE 5.2: Using Deductive and Inductive Logic Ethos EXERCISE 5.3: Using Ethos Pathos EXERCISE 5.4: Using Pathos The Limits of Argument Fruitful Topics for Argument Demonstration: Developing an Argument Synthesis—Responding to Bullies BULLYING STATISTICS—Pacer.org THE 2011 NATIONAL SCHOOL CLIMATE SURVERY: THE EXPERIENCES OF LESBIAN, GAY, BISEXUAL AND TRANSGENDER YOUTH IN OUR NATION’S SCHOOLS—Joseph Kosciw, Emily Greytak, Mark Bartkiewicz et al. OLWEUS Bullying Prevention Program: Scope and Sequence White House Report/Bullying—And the Power of Peers—Philip Rodkin EXERCISE 5.5: Critical Reading for Synthesis The Argument Synthesis Consider Your Purpose Making a Claim: Formulate a Thesis Decide How You Will Use Your Source Material Develop an Organizational Plan Formulate an Argument Strategy Draft and Revise Your Synthesis Model Argument Synthesis: Responding to Bullies—Peter Simmons The Strategy of the Argument Synthesis Developing and Organizing the Support for Your Arguments Summarize, Paraphrase, and Quote Supporting Evidence Provide Various Types of Evidence and Motivational Appeals Use Climactic Order Use Logical or Conventional Order Present and Respond to Counterarguments Use Concession BOX: Developing and Organizing Support for Your Arguments Avoid Common Fallacies in Developing and Using Support The Comparison-and-Contrast Synthesis Organizing Comparison-and-Contrast Syntheses Organizing by Source or Subject Organizing by Criteria EXERCISE 5.6: Comparing and Contrasting A Case for Comparison-and-Contrast: World War I and World War II Comparison-and-Contrast Organized by Criteria Model Exam Response The Strategy of the Exam Response Summary of Synthesis Chapters 6. Analysis What Is an Analysis? BOX: Where Do We Find Written Analyses? How to Write Analyses THE PLUG-IN DRUG—Marie Winn EXERCISE 6.1: Reading Critically: Winn Locate and Apply an Analytic Tool Locate an Analytic Tool Apply the Analytic Tool Analysis Across the Curriculum BOX: Guidelines for Writing Analyses Formulate a Thesis Develop an Organizational Plan Turning Key Elements of a Principle or a Definition into Questions Developing the Paragraph-by-Paragraph Logic of Your Paper Draft and Revise Your Analysis Write an Analysis, Not a Summary Make Your Analysis Systematic Answer the “So What?” Question Attribute Sources Appropriately BOX: Critical Reading for Analysis When Your Perspective Guides the Analysis Demonstration: Analysis Model Analysis: The Case of the Missing Kidney: An Analysis of Rumor—Linda Shanker EXERCISE 6.2: Informal Analysis of the Model Analysis The Strategy of the Analysis 7. Locating, Mining, and Citing Sources Source-Based Papers BOX: Where Do We Find Written Research? BOX: Writing the Research Paper The Research Question BOX: Narrowing the Topic via Research EXERCISE 7.1: Constructing Research Questions LOCATING SOURCES BOX: Types of Research Data Preliminary Research Consulting Knowledgeable People Familiarizing Yourself with Your Library’s Resources Locating Preliminary Sources Encyclopedias BOX: Wikipedia: Let the Buyer Beware EXERCISE 7.2: Exploring Specialized Encyclopedias Biographical Sources Almanacs and Yearbooks Literature Guides and Handbooks Overviews and Bibliographies Subject-Heading Guides Focused Research Databases Smartphones and Database Searching Discovery Services Web Searches BOX: Constructing an Effective Database Search Query Searching Databases Effectively BOX: Using Keywords and Boolean Logic to Refine Online Searches Evaluating Web Sources Other Pitfalls of Web Sites EXERCISE 7.3: Exploring Online Sources EXERCISE 7.4: Practice Evaluating Web Sources Periodicals: General Magazines Newspapers Periodicals: Specialized EXERCISE 7.5: Exploring Specialized Periodicals Books Book Reviews Government Publications and Other Statistical Sources Interviews and Surveys BOX: Guidelines for Conducting Interviews BOX: Guidelines for Conducting Surveys and Designing Questionnaires MINING SOURCES BOX: Critical Reading for Research The Working Bibliography Note-Taking Getting the Most from Your Reading BOX: Guidelines for Evaluating Sources Arranging Your Notes: The Outline Research and Plagiarism Time Management and Plagiarism Confidence and Plagiarism Note-Taking and Plagiarism Digital Life and Plagiarism Determining Common Knowledge A Guideline for Determining Common Knowledge Plagiarism, the Internet, and Fair Use Internet Paper Mills BOX: Fair Use and Digital Media CITING SOURCES BOX: Types of Citations APA Documentation Basics APA In-Text Citations in Brief APA References List in Brief MLA Documentation Basics MLA In-Text Citations in Brief MLA Works Cited List in Brief Part II: BRIEF TAKES MUSIC 8. “Stormy Weather” and the Art of the Musical Cover Whose version of “Please Don’t Stop the Music” do you prefer? Rihanna’s or Jamie Cullum’s? Such questions are at the heart of this chapter on music—specifically, the art of the musical “cover,” in which a musician or band puts a unique spin on a previously recorded song. Because music isn’t a verbal art form, writing about it might seem challenging—but we offer a model example of how to go about it. We also provide a useful glossary of key musical terms, both in print and as a series of online videos. A review of a Paul McCartney album of cover songs makes some provocative claims about what makes for a successful cover and why so many cover albums disappoint. We conclude with Rolling Stone’s list of “greatest covers” for you to explore and debate. A CLOUDFUL OF “STORMY WEATHER”— Harold Arlen and Ted Koehler HOW TO TALK—AND WRITE—ABOUT POPULAR MUSIC—Gregory Blair COMPARING AND CONTRASTING THREE COVERS OF “STORMY WEATHER”—GregBlair WHY DO SOME COVERS DISAPPOINT?—Jeff Turrentine A HEARTFUL OF “HALLELUJAH”—Leonard Cohen ”THE GREATEST COVERS OF ALL TIME—Rolling Stone magazine and other listings Musical Cover Chapter Final Assignment ETHICS 9. Ethical Dilemmas in Everyday Life Would you steal to save a life? Sacrifice one life to save five? In this chapter we provide a variety of sources on the ways that “thought experiments” in ethics—scenarios that ask you to decide on courses of right action (and to justify your decisions)—can serve as a guide for facing everyday ethical dilemmas. When there is no clear right and wrong choice, how do you decide? To what principles can you turn for guidance? Your task in the chapter will be to wrestle with ethical dilemmas and to argue for a clear course of action based on principles you make plain to your readers. Read; Prepare to Write BOX: Group Assignment #1: Make a Topic List BOX: Group Assignment #2: Create a Topic Web BOX: Group Assignment #3: Decide for Yourself The Readings and Videos WHAT IF . . . —Daniel Sokol BOX: Video Link: The Trolley Car THE CASE OF THE COLLAPSED MINE—Richard T. De George A FRAMEWORK FOR THINKING ETHICALLY—Manual Velasquez, et al. MORAL INQUIRY—Ronald F. White BOX: Video Link: Grey’s Anatomy (a medical dilemma) HEINZ’S DILEMMA: KOHLBERG’S SIX STATES OF MORAL DEVELOPMENT—William Crain BOX: Video Link: The Heinz Dilemma A Casebook of Ethical Dilemmas THE LIFEFBOAT—Rosetta Lee LIFEBOAT ETHICS: THE CASE AGAINST HELPING THE POOR—Garrett Hardin SHOULD I PROTECT A PATIENT AT THE EXPENSE OF AN INNOCENT STRANGER?—Chuck Klosterman NO EDIT—Randy Cohen THE TORTURED CHILD—Kelley L. Ross THE ONES WHO WALK AWAY FROM OMELAS—Ursula Le Guin BOX: Video Link: The Drowning Child by Peter Singer A CALLOUS PASSERBY The Assignments Summary Ï Alternate Summary Assignment Ï Critique Ï Explanatory Synthesis Ï Analysis Ï Alternate Analysis Assignment Ï Argument Ï Alternate Argument Assignment #1 Ï Alternate Argument Assignment #2 SOCIOLOGY 10. The Roar of the Tiger Mom “Here are some things my daughters, Sophia and Louisa, were never allowed to do,” announces Yale law school professor Amy Chua in "Battle Hymn of the Tiger Mother.” Among her list of prohibitions: having a playdate, watching TV, playing computer games, and getting any grade less than A. Chua’s writing provoked a deluge of responses from readers and professional commentators, some outraged, some cheering her on. Here is a sampling of some of those responses, part of what became a national debate over the best way to raise children to be-come successful adults. Read; Prepare to Write BOX: Group Assignment #1: Make a Topic List BOX: Group Assignment #2: Create a Topic Web THE READINGS Adapted from 'BATTLE HYMN OF THE TIGER MOTHER"—Amy Chua MOTHER INFERIOR?—Hanna Rosin AMY CHUA IS A WIMP—David Brooks TIGER MOTHER STIRS REFLECTIONS ON PARENTHOOD—Tina Griego TIGER MOM VS. TIGER MAILROOM—Patrick Goldstein AMERICA’S TOP PARENT—Elizabeth Kolbert TIGER MOMS DON’T RAISE SUPERIOR KIDS, SAYS NEW STUDY—Susan Adams THE ASSIGNMENTS Summary Ï Critique Ï Explanatory Synthesis Ï Analysis Ï Argument Part III: AN ANTHOLOGY OF READINGS LITERATURE AND FILM 11. First Impressions: The Art and Craft of Storytelling The Art and Craft of Starting Your Story THE HOOK—K.M. Weiland “Readers are like smart fish,” suggests novelist K.M. Weiland, “They aren’t about to surrender themselves to the lure of your story unless you’ve presented them with an irresistible hook.” STARTING YOUR STORY— Michael Kardos Novelist and short story writer Michael Kardos discusses the five narrative tasks the beginning of a story must accomplish. Among the most crucial: “Give us a reason to keep reading.” THE MAGIC SHOW—Tim O’Brien The author of the classic Vietnam novel The Things They Carried explains how a storyteller is like a magician and how mystery is central to both plot and character. Chapter Ones: The Novels EMMA—Jane Austen Austin’s fourth published novel chronicles the intrusive matchmaking of a privileged young woman, Emma Woodhouse, in 19th-century England. WUTHERING HEIGHTS—Emily Brontë Set on the English moors, this novel explores love and revenge and madness through the love story of Catherine Earnshaw and Mr. Heathcliff. JANE EYRE—Charlotte Brontë This coming-of-age novel chronicles the life of its title character from childhood to marriage. GREAT EXPECTATIONS—Charles Dickens Often considered Dickens’s finest novel, this is the coming-of-age story of an English orphan named Pip. THE SIGN OF THE FOUR—Arthur Conan Doyle This is Doyle’s second novel starring Sherlock Holmes, the world’s greatest—and only—“consulting detec-tive.” THE RED BADGE OF COURAGE—Stephen Crane Set in Virginia in 1863, Crane’s second novel depicts a young man, Henry Fleming, who is fighting for the Un-ion army during the American Civil War. DRACULA—Bram Stoker This is the classic vampire novel to which all subsequent vampire novels (and shows, and movies) are indebted. Scene Ones: The Films JANE EYRE—directed by Robert Stevenson This is only one—but an influential one—of numerous film versions of Bronte’s romantic novel. GREAT EXPECTATIONS--directed by David Lean Lean’s version of the terrifying encounter on an English marsh between Dickens’s young Pip and the escaped convict has never been surpassed. EMMA—directed by Robert McGrath, and CLUELESS—directed by Amy Heckerling Here are two versions of Austen’s classic novel—the first a period piece, like Austen’s novel, set in county Sur-rey, England, the second set in Beverly Hills. DRACULA—directed by Tod Browning and BRAM STOKER’S DRACULA--directed by Francis Ford Coppola Here are two film versions of Bram Stoker’s classic vampire story, created more than sixty years apart by di-rectors with very different artistic visions. THE RED BADGE OF COURAGE—directed by John Huston Crane’s novel of a Civil War soldier wondering how he will act in battle is faithfully filmed—and then heavily edited by the studio bosses. CITIZEN KANE—directed by Orson Welles This is the work most frequently cited as the greatest film of all time. Whether or not you agree, the opening scene of a newspaper magnate’s final moments make for compelling viewing. BRIEF ENCOUNTER—directed by David Lean This is one of the greatest romantic dramas ever filmed—in a typically restrained British fashion. SHANE—directed by George Stevens In many ways, this is the archetypal western: set against magnificent Wyoming scenery, the film depicts an epic battle between a reluctant gunfighter and a rancher trying to drive homesteaders off their land. THE GODFATHER, PART ONE—directed by Francis Ford Coppola The greatest gangster film ever made is also a family drama—which begins at a wedding celebration. SLEEPLESS IN SEATTLE—directed by Nora Ephron In the tradition of classic romantic dramas, Ephron focuses on two people thousands of miles apart gravitating (haltingly) toward each other. DO THE RIGHT THING—directed by Spike Lee. A simmering racial conflict on the hottest day of the year in the Bedford-Stuyvesant neighborhood of Brooklyn is the focus of Spike Lee’s controversial film. THE DEVIL IN A BLUE DRESS—directed by Carl Franklin The classic private detective formula is re-imagined along racial lines in Carl Franklin’s story of an unemployed African-American World War II veteran tasked to find the missing fiancé of a Los Angeles mayoral candidate. CHICAGO—directed by Rob Marshall Kander and Ebb’s scintillating musical about two female murderers begins with two knockout songs set partial-ly in the characters’ heads. THE HURT LOCKER—directed by Kathryn Bigelow This tense film chronicles the daily life-and-death struggles of a bomb disposal unit during the Iraq War. GRAVITY—directed by Alfonse Cuarón This visually stunning film about an astronaut trying to return to earth after a catastrophic accident kept audiences on the edge of their seats. 12 YEARS A SLAVE—directed by Steve McQueen A brutally intense drama about a free black man sold into slavery is unforgettably depicted in McQueen’s film, which won the Academy Award for Best picture of 2013. · Synthesis Activities ECONOMICS 12. The Changing Landscape of Work in the Twenty-First Century The Puzzling U.S. Labor Market A POST-COLLEGE FLOW CHART OF MISERY AND PAIN—Jenna Brager A graphic artist offers a sardonic view of the job prospects for those holding a humanities degree. JOB OUTLOOK FOR 2014 COLLEGE GRADS PUZZLING—Hadley Malcolm A reporter for USA Today investigates job prospects for recent grads and concludes that for many “young Americans . . . the recession never ended.” WHY FOCUSING TOO NARROWLY IN COLLEGE COULD BACKFIRE--Peter Cappelli A business professor acknowledges that in a tough job market there’s a strong temptation to acquire practical, immediately employable skills; but he questions the wisdom of turning the college years into narrowly focused vocational training. WILL YOUR JOB BE EXPORTED?—Alan S. Blinder An economist argues that the quality and security of future jobs in America’s services sector will be determined by how “offshorable” those jobs are. Even jobs requiring a college degree are at risk. THEY’RE WATCHING YOU AT WORK: THE JOB INTERVIEW—Don Peck You've landed that coveted job interview. During your face to face with the recruiter, you’re asked to play a video game while a computer monitors your every keystroke, assessing your potential as a prospective employee. Sound appealing? Data on the U.S. Labor Market: Charts, Graphs, Tables Multiple charts, graphs, and tables provide snapshots of current conditions in the job market. You’ll learn how graduates in different majors are faring in their search for jobs—and what they earnwhen hired. The data is culled from several authoritative sources: Pew Research, Georgetown Public Policy Institute, and the Bureau of Labor Statistics. THE RISING COST OF NOT GOING TO COLLEGE—Pew Research UNEMPLOYMENT AND EARNINGS FOR COLLEGE MAJORS—Georgetown Public Policy Institute/ Center for Education and the Workforce EARNINGS AND UNEMPLOYMENT RATES BY EDUCATIONAL ATTAINMENT—Bureau of Labor Statistics OCCUPATION FINDER—Bureau of Labor Statistics Debate: Should You Do What You Love? DO WHAT YOU LOVE—Steve Jobs In this famous commencement address at Stanford University in 2005, a titan of the computer industry advises graduating seniors to follow their passion in the search for work. His advice provokes a furious debate. DO WHAT YOU LOVE? #@&** THAT!—Jeff Hayden This columnist believes that “[t]elling someone to follow their passion . . . has probably resulted in more failed businesses than all the recessions combined.” DEAR GRADS: DON’T DO WHAT YOU LOVE—Carl McCoy Perhaps more young people would be happier in their jobs, according to this writer and musician, if “love [was] a consequence of meaningful work instead of . . . the motivation for it.” IN THE NAME OF LOVE—Miya Tokumitsu An art historian brings a socialist critique to the “do what you love” debate, arguing that people who work for love of the job often achieve their goals by employing others who come to hate their jobs. Synthesis Activities • Research Activities SOCIOLOGY 13. Have You Heard This? The Latest on Rumor THE GOSSIPS—Norman Rockwell A famous Saturday Evening Post cover tracks a fast-moving rumor as it wends its way to, from, and around the local townsfolk, who react with amusement, surprise, and dismay. FRANKENCHICKEN—Snopes.com Would you like fries with your genetically engineered chicken? How one fast food chain lost control of its secret recipe. TRUTH IS IN THE EAR OF THE BEHOLDER—Gregory Rodriguez Won’t the truth make us free? No, reports a Los Angeles Times columnist: “we tend to reject theories and rumors—and facts and truths—that challenge our worldview and embrace those that affirm it.” ANATOMY OF A RUMOR: IT FLIES ON FEAR—DANIEL GOLEMAN “Rumors are a kind of opportunistic information virus, thriving because of their ability to create the very anxieties that make them spread,” notes psychologist Daniel Goleman. This introduction to the world of rumor explains what con-temporary social scientists are doing to understand—and prevail against—a timeless and universal human phenomenon. FIGHTING THAT OLD DEVIL RUMOR—Sandra Salmans How Procter & Gamble fought a rumor that would not die, about the Satanic significance of its corporate logo. A PSYCHOLOGY OF RUMOR—Robert H. Knapp In this groundbreaking analysis, conceived during a time when wartime rumors were everywhere, a psychologist classifies the main types of rumors and explains what qualities make them so effective. “PAUL IS DEAD!” (SAID FRED)—Alan Glenn Look closely at that album cover showing the four Beatles crossing Abbey Road. Why is Paul not wearing shoes? Could that clue be evidence that . . . he’s really crossed over? THE RUNAWAY GRANDMOTHER—Jan Harold Brunvand Car with dead granny on roof stolen—News at 11! HOW AND WHY RUMORS WORK—AND HOW TO STOP THEM—Nicholas DiFonzo A psychology professor explains how rumors help people who are “trying to figure out or make sense of an unclear or ambiguous situation.” HOW TO FIGHT A RUMOR—Jesse Singal Rumors are more than just “idle and malicious gossip.” Throughout history they have served important social functions. To fight rumors, particularly political rumors, we must study these functions. THE RUMOR—John Updike A suburban wife tells her husband she’s heard a rumor that he’s gay. He laughs it off, but then, like a worm, the rumor burrows deep, with surprising results. Synthesis Activities • Research Activities PHILOSOPHY 14. Happiness and its Discontents The Difficulty of Defining Happiness HAPPINESS—Jane Kenyon A former poet laureate of New Hampshire compares happiness to an unknown uncle who appears at your door to wake you from a midafternoon sleep “during the unmerciful / hours of your despair.” PIG HAPPINESS?—Lynne McFall John Stuart Mill once wrote that “[i]t is better to be a human being dissatisfied than a pig satisfied; better to be Socrates dissatisfied than a fool satisfied.” Philosopher Lynn McFall riffs on this pronouncement with a playful—yet serious—run of questions. IN PURSUIT OF HAPPINESS—Mark Kingwell For thousands of years philosophers, religious leaders, and poets have attempted to define happiness, yet no one has come up with a universally accepted definition. Is the effort futile? A contemporary philosopher doesn’t think so. THE DALAI LAMA’S SKI TRIP: WHAT I LEARNED IN THE SLUSH WITH HIS HOLINESS—Douglas Preston A writer making a “shabby” living plays host to a revered religious leader—and learns the meaning of life. Positive Psychology: The Science of Happiness A BALANCED PSYCHOLOGY AND A FULL LIFE—Martin E. P. Seligman, Acacia C. Parks, and Tracy Steen A founder of positive psychology explains key principles of the young science and claims that “three routes to happi-ness (pleasure, gratification, and meaning)” can be taught and nurtured. FINDING FLOW—Mihaly Csikszentmihalyi Another founder of positive psychology defines a key component of happiness as “flow”—the state of being so im-mersed in an activity that all awareness of time and effort dissolves. Athletes call it “being in the zone.” YES, MONEY CAN MAKE YOU HAPPY—Cass R. Sunstein Conventional wisdom tells us that money can’t buy happiness. Researchers think that it can—up to a point. Critiques of Positive Psychology HAPPINESS: ENOUGH ALREADY—Sharon Begley “On a scale from 1 to 10, where 10 is extremely happy, 8s were more successful than 9s and 10s, getting more education and earning more.” Might there be a downside to being too happy? HAPPY LIKE GOD—Simon Critchley “Happiness is not quantitative . . . and it is not the object of any science, old or new. It cannot be gleaned from empirical surveys or programmed into individuals through . . . behavioral therapy and anti-depressants.” HIGH PERFORMANCE HAPPY—Cliff Oxford An entrepreneur rejects the application of happiness studies to business—labeling Human Resources personnel “happy-employee propagandists.” WHAT SUFFERING DOES—David Brooks Happiness is but one part of the human drama; suffering is another. In this essay, Brooks reflects on what we learn, and how we change, from suffering. Synthesis Activities • Research Activities PSYCHOLOGY 15. Obedience to Authority DISOBEDIENCE AS A PSYCHOLOGICAL AND MORAL PROBLEM—Erich Fromm “If mankind commits suicide,” argues this psychologist and philosopher, “it will be because people will obey those who command them to push the deadly buttons; because they will obey the archaic passions of fear, hate, and greed; because they will obey obsolete clichés of State sovereignty and national honor.” THE POWER OF SITUATIONS—Lee Ross and Richard E. Nisbett Think you can predict whether or not a student walking across campus will stop to help a man slumped in a doorway? Don’t bet on it. THE MILGRAM EXPERIMENT—Saul McLeod A psychologist devises an experiment to test the extent to which people will obey immoral orders. His startling conclusion: “ordinary people . . . without any particular hostility on their part, can become agents in a terrible destructive process.” THE FOLLOWER PROBLEM—David Brooks It’s sometimes difficult for Americans to square our belief that all people are created equal with the reality that a functioning society requires some people to lead and others to follow. A prominent social commentator explains that good leaders require people who “recognize just authority, admire it, [are] grateful for it and emulate it.” GROUP MINDS—Doris Lessing The flattering picture we paint of ourselves as individuals leaves most of us “helpless against all kinds of pressures…to conform.” OPINIONS AND SOCIAL PRESSURE—Solomon E. Asch How powerful is group pressure upon the individual? A landmark experiment demonstrates that most people will deny the evidence of their own eyesight sooner than risk appearing out of step with the majority. PRISONER AND GUARD: THE STANFORD EXPERIMENT You will be directed to a dramatic online video documenting a now-famous experiment in which college-age men take on the roles of guard and prisoner—with surprising (and sometimes chilling) results. Synthesis Activities • Research Activities Credits Index Checklists for Writing Summaries, Critiques, Syntheses, Analyses Table of Contents
Get Writing and Reading Across the Curriculum (Subscription), 13th Edition by Laurence Behrens, University of California, Santa Barbara Leonard J. Rosen, Bentley College
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