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| The Practice of Writing | |
| Why Am I Writing Essays? An Occasion for Writing | |
| Using Your Voice and Finding Your Character | |
| Moving from Evidence to Idea to Essay | |
| Evidence | |
| Idea | |
| Essay | |
| How to Reveal the Discoveries | |
| Analysis | |
| Interpretation | |
| Reflection and Meaning | |
| Making Evidence and Discovery Work Together | |
| An Occasion for Writing: a Student''s Process Preparing to Write | |
| Integrating a Visual Text | |
| Moving toward Essay | |
| Creating a Scene | |
| Integrating a Written Text | |
| Writing Thoughtfully | |
| Reflecting (Analysis and Conception) | |
| Rhetorical Considerations for Essays | |
| An Introduction to Visual Understanding | |
| Keeping Your Eyes Open and Learning to See | |
| A Strategy for Visual Understanding | |
| Looking and Responding | |
| Analyzing Images: Categorizing to Make Sense of What You See | |
| Focal Point and Emphasis | |
| Figure-Ground Contrast | |
| Grouping: Proximity & Similarity | |
| Color | |
| Continuation | |
| Line | |
| Closure | |
| Narration or Story | |
| Context | |
| The Whole Composition | |
| Two Annotated Visuals | |
| Chrysler, Drive=Love [Advertisement] | |
| Monumental Posing [Photograph] | |
| Communicating What You See | |
| For Further Reading | |
| A Sample Student Paper | |
| Ryan Pollack, Visible Feelings | |
| Analysis Defining Analysis | |
| How Analysis Functions | |
| Recognizing Analysis | |
| Using Analysis in Writing | |
| Annotated Paragraph | |
| Analysis and the Other Patterns of Inquiry | |
| Annotated Reading: The New York Times, Neighborly Vultures | |
| Perspectives on Fear | |
| Forms of Mind: an Occasion for Analysis | |
| The Importance of Marvels [painting] | |
| The Treachery of Images [painting] | |
| The Birth of Venus [painting] | |
| Annie Dillard, Living Like Weasels | |
| The Nature of Consciousness: An Occasion for Analysis | |
| Young Interracial Couple [photograph] | |
| Central Park with Boys in Trees [photograph] | |
| Central Park [photograph] | |
| Youth Holding Kitten [photograph] | |
| The Bird of Paradise: The Hunter and The Poet | |
| Poetic Moments: An Occasion for Analysis | |
| Tree of Life [photograph] | |
| And Eve [poem] | |
| Thunderstorm [photograph] | |
| Life Cycle of a Thunderstorm [illustration] | |
| Toys | |
| Giving Up The Gu | |
| The Man Who Mistook His Wife For a Hat | |
| The Tell-Tale Heart | |
| Description | |
| Defining Description | |
| How Description Functions | |
| Selecting Details Organizing Details | |
| Recognizing Description | |
| Metaphor | |
| Simile | |
| Using Description in Writing | |
| Annotated Paragraph: Virginia Woolf, from Moments of Being | |
| Description and the Other Patterns of Inquiry | |
| Annotated Reading: Cynthia Ozick, The Seam of the Snail | |
| Love Sick | |
| The Truth of Mind: an Occasion for Description | |
| Parasympathetic and Sympathetic System Diagram [illustration] | |
| Heart in Voh [photograph] | |
| From One Writer''s Beginning [essay excerpt] | |
| On Not Looking at Pictures | |
| Ways of Seeing (and not): An Occasion for Description | |
| Las Meninas [painting] | |
| Titian, Entombment [painting] | |
| The Myth of The Latin Woman | |
| Facing Races: An Occasion for Description | |
| The Face of Tomorrow [poster] | |
| Georgia O''Keeffe | |
| Death of a Moth | |
| Islands | |
| The Storm | |
| Narration | |
| Defining Narration | |
| How Narration Functions | |
| Sequence, Causality, and Effect | |
| Choosing Events | |
| Selecting and Ordering Details | |
| Recognizing Narration | |
| First-Person Plural (We) | |
| Second-Person Singular and Plural (You) | |
| Third-Person Singular and Plural (He/She, They) | |
| Other Voices | |
| Using Narration in Writing Annotated Paragraph | |
| Narration and the Other Patterns of Inquiry | |
| Annotated Reading: Roy Reed, Wolf Hunt | |
| Once More To The Lake | |
| Time Passes: An Occasion for Narration | |
| Pond''s Extract bottles [photograph] | |
| Horse and Buggy [photo | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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