Johnson County Community Do What You Love by Steve Jobs Article Summary

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In this project, you will be writing summaries to help you recall the sources’ content, locate specific information for your expository paper, and comprehend the source completely. You will use summaries in a similar way in other courses; in addition, you might also want to consider using summaries of class notes or textbook chapters as a method of studying. Professionally you may often be asked to provide summaries so others can avoid reading lengthy documents or materials that require special knowledge.

Hints:

  1. Read the essay more than once
  2. Annotated the essay -- for shorter essays, write a 1-sentence summary for each paragraph; for longer essays, block off sections (consider big rhetorical moves like "problem" and "solution" OR "before" and "after" OR "cause" and "effect"). Summarize with a short chapter for each rhetorical move.
  3. Draft a thesis for the article.
  4. Write a first sentence that includes the name of the author, the article name, and the thesis of the article. No introduction.

An effective summary :

  • Gives an accurate picture of what the article said
  • Includes all important information
  • Excludes extra or unimportant information
  • Reflects the balance of information in the original article
  • Reads fluently
  • Can be understood by someone who has not read the original
  • Runs less than 20% of the original in length

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Writing and Reading Across the Curriculum Thirteenth Edition This page intentionally left blank Writing and Reading Across the Curriculum Thirteenth Edition Laurence Behrens University of California Santa Barbara Leonard J. Rosen Bentley University New! 2016 MLA Updates Boston Columbus Hoboken Indianapolis New York San Francisco Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Senior Acquisitions Editor: Brad Potthoff Program Manager: Anne Shure Product Marketing Manager: Ali Arnold Field Marketing Manager: Mark Robinson Senior Media Producer: Stefanie Snajder Content Specialist: Erin Reilly Jenkins Project Manager: Shannon Kobran Project Coordination, Text Design, and Electronic Page Makeup: Integra Cover Designer: Barbara Atkinson Cover Illustration: vanias/Shutterstock Senior Manufacturing Buyer: Roy L. Pickering, Jr. Printer/Binder: Edwards Brothers Malloy Cover Printer: Lehigh-Phoenix Color–Hagerstown Acknowledgments of third-party content appear on the appropriate page within text and on pages 611–617 which constitute an extension of this copyright page. PEARSON, ALWAYS LEARNING, and MYWRITINGLAB are exclusive trademarks, in the United States and/or other countries, of Pearson Education, Inc., or its affiliates. Unless otherwise indicated herein, any third-party trademarks that may appear in this work are the property of their respective owners and any references to third-party trademarks, logos, or other trade dress are for demonstrative or descriptive purposes only. Such references are not intended to imply any sponsorship, endorsement, authorization, or promotion of Pearson’s products by the ­owners of such marks, or any relationship between the owner and Pearson Education, Inc., or its ­affiliates, authors, licensees, or distributors. Library of Congress Cataloging-in-Publication Data Behrens, Laurence, author. Writing and reading across the curriculum/Laurence Behrens; Leonard J. Rosen.—Thirteenth Edition.   pages cm ISBN 978-0-13-399901-3—ISBN 0-13-399901-7    1. College readers. 2. Interdisciplinary approach in education—Problems, exercises, etc. 3. English language—Rhetoric—Problems, exercises, etc. 4. Academic writing—Problems, exercises, etc. I. Rosen, Leonard J., author. II. Title. PE1417.B396 2015 808'.0427—dc23 2014039841 Copyright © 2016, 2013, 2011 by Laurence Behrens and Leonard J. Rosen All rights reserved. Printed in the United States of America. This publication is protected by copyright, and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise. For information regarding permissions, request forms and the appropriate contacts within the Pearson Education Global Rights & Permissions Department, please visit www.pearsoned.com/permissions/. 1 2 3 4 5 6 7 8 9 10—EBM—18 17 16 15 Student Edition ISBN-10:    0-13-458632-8 ISBN-13: 978-0-13-458632-8 www.pearsonhighered.com À la Carte Edition ISBN-10:    0-13-458260-8 ISBN-13: 978-0-13-458260-3 T o the memory of Phil Rodkin (1968–2014) This page intentionally left blank B r i e f Part Chapter Chapter Chapter Chapter Chapter Chapter Chapter Part C o n t e n t s I Structures and Strategies   1 1  Summary, Paraphrase, and Quotation   3 2  Critical Reading and Critique   51 3  Thesis, Introduction, and Conclusion   78 4  Explanatory Synthesis   96 5  Argument Synthesis   130 6  Analysis   174 7  Locating, Mining, and Citing Sources   196 II Brief Takes   239 Chapter 8  “Stormy Weather” and the Art of the Musical Cover    241 Chapter 9  Ethical Dilemmas in Everyday Life   264 Chapter 10 The Roar of the Tiger Mom    302 Part III An Anthology of Readings    331 Chapter 11 First Impressions: The Art and Craft of Storytelling   333 Chapter 12 The Changing Landscape of Work in the Twenty-First Century   429 Chapter 13 Have You Heard This? The Latest on Rumor   477 Chapter 14 Happiness and Its Discontents   523 Chapter 15 Obedience to Authority   572 Credits 611 Index 619 Checklists for Writing Summaries, Critiques, Syntheses, and Analyses 634 vii This page intentionally left blank D e t a i l e d C o n t e n t s Preface for Instructors    xxix A Note to the Student    xxxv Pa r t I Structures and Strategies   1 Chapter 1 Summary, Paraphrase, and Quotation   3 What Is a Summary?    3 Can a Summary Be Objective?    4 BOX: Where Do We Find Written Summaries?    4 Using the Summary   5 The Reading Process   5 BOX: Critical Reading for Summary    6 How to Write Summaries    7 BOX: Guidelines for Writing Summaries    7 Demonstration: Summary   8 The Baby in the Well: The Case Against Empathy—Paul Bloom   9 Read, Reread, Highlight   15 Divide into Stages of Thought    16 Write a Brief Summary of Each Stage of Thought    17 Write a Thesis: A Brief Summary of the Entire Passage    18 Write the First Draft of the Summary    20 Summary 1: Combine Thesis Sentence with Brief Section Summaries    21 The Strategy of the Shorter Summary    21 Summary 2: Combine Thesis Sentence, Section Summaries, and Carefully Chosen Details    22 The Strategy of the Longer Summary    24 How Long Should a Summary Be?    24 EXERCISE 1.1: Individual and Collaborative Summary Practice    25 Summarizing Graphs, Charts, and Tables    25 Bar Graphs   27 EXERCISE 1.2: Summarizing Graphs    29 ix x Detailed Contents Line Graphs   29 EXERCISE 1.3: Summarizing Line Graphs    30 Pie Charts   31 EXERCISE 1.4: Summarizing Pie Charts    31 Other Charts: Bubble Maps, Pictograms, and Interactive Charts    32 Tables   34 EXERCISE 1.5: Summarizing Tables    36 Paraphrase   37 BOX: How to Write Paraphrases    39 EXERCISE 1.6: Paraphrasing   40 Quotations   40 Choosing Quotations   41 Quoting Memorable Language    41 BOX: When to Quote    41 Quoting Clear and Concise Language    41 Quoting Authoritative Language    42 Incorporating Quotations into Your Sentences    43 Quoting Only the Part of a Sentence or Paragraph That You Need    43 Incorporating the Quotation into the Flow of Your Own Sentence    44 Avoiding Freestanding Quotations    44 EXERCISE 1.7: Incorporating Quotations    45 Using Ellipses    45 Using Brackets to Add or Substitute Words    46 BOX: When to Summarize, Paraphrase, and Quote    47 BOX: Incorporating Quotations into Your Sentences    48 EXERCISE 1.8: Using Brackets    48 Avoiding Plagiarism   49 BOX: Rules for Avoiding Plagiarism    50 Chapter 2 Critical Reading and Critique   51 Critical Reading   51 Question 1: To What Extent Does the Author Succeed in His or Her Purpose?    52 BOX: Where Do We Find Written Critiques?    52 Writing to Inform   53 Evaluating Informative Writing    53 Detailed Contents Writing to Persuade   54 EXERCISE 2.1: Informative and Persuasive Thesis Statements    54 Evaluating Persuasive Writing    55 The Moon We Left Behind—Charles Krauthammer   55 EXERCISE 2.2: Critical Reading Practice    57 Persuasive Strategies    57 Logical Argumentation: Avoiding Logical Fallacies    59 BOX: Tone   61 EXERCISE 2.3: Understanding Logical Fallacies    63 Writing to Entertain   63 Question 2: To What Extent Do You Agree with the Author?    63 Identify Points of Agreement and Disagreement    63 EXERCISE 2.4: Exploring Your Viewpoints—in Three Paragraphs    64 Explore the Reasons for Agreement and Disagreement: Evaluate Assumptions    64 Inferring and Implying Assumptions    65 An Example of Hidden Assumptions from the World of Finance    65 Critique   67 How to Write Critiques   68 BOX: Guidelines for Writing Critiques    68 Demonstration: Critique   69 To What Extent Does the Author Succeed in His or Her Purpose?    69 To What Extent Do You Agree with the Author? Evaluate Assumptions   69 Model Critique: A Critique of Charles Krauthammer’s “The Moon We Left Behind”—Andrew Harlan   70 EXERCISE 2.5: Informal Critique of the Model Critique    75 BOX: Critical Reading for Critique    75 The Strategy of the Critique    76 Chapter 3 Thesis, Introduction, and Conclusion   78 Writing a Thesis   78 The Components of a Thesis    79 Making an Assertion    79 Starting with a Working Thesis    80 Using the Thesis to Plan a Structure    81 xi xii Detailed Contents BOX: How Ambitious Should Your Thesis Be?    82 EXERCISE 3.1: Drafting Thesis Statements    83 Introductions   83 Quotation   84 Historical Review   84 Review of a Controversy    85 From the General to the Specific    86 Anecdote and Illustration: From the Specific to the General    86 Question   87 Statement of Thesis   88 EXERCISE 3.2: Drafting Introductions    88 Conclusions   89 Summary (Plus)   89 Statement of the Subject’s Significance    90 Call for Further Research    90 Solution/Recommendation   91 Anecdote   92 Quotation   92 Question   93 Speculation   94 EXERCISE 3.3: Drafting Conclusions    95 Chapter 4 Explanatory Synthesis   96 What Is a Synthesis?    96 Summary and Critique as a Basis for Synthesis    97 Inference as a Basis for Synthesis: Moving Beyond Summary and Critique    97 Purpose   97 Example: Same Sources, Different Uses    98 BOX: Where Do We Find Written Syntheses?    98 Using Your Sources   99 Types of Syntheses: Explanatory and Argument    99 What Are Genetically Modified (GM) Foods?    100 Genetically Modified Foods and Organisms—The United States Department of Energy   100 Detailed Contents Why a GM Freeze?—The GM Freeze Campaign    100 How to Write Syntheses    102 BOX: Guidelines for Writing Syntheses    102 The Explanatory Synthesis   103 Demonstration: Explanatory Synthesis—Going Up? An Elevator Ride to Space   104 EXERCISE 4.1: Exploring the Topic    104 The History of the Space Elevator—P. K. Aravind   104 Applications of the Space Elevator—Bradley C. Edwards   106 Going Up—Brad Lemley   108 Consider Your Purpose   110 EXERCISE 4.2: Critical Reading for Synthesis    111 Formulate a Thesis   111 Decide How You Will Use Your Source Material    112 Develop an Organizational Plan    113 Summary Statements   114 Write the Topic Sentences   115 BOX: Organize a Synthesis by Idea, Not by Source    116 Write Your Synthesis   117 Explanatory Synthesis: First Draft    117 Revise Your Synthesis: Global, Local, and Surface Revisions    120 Revising the First Draft: Highlights    120 Global    120 Local    121 Surface    121 EXERCISE 4.3: Revising the Explanatory Synthesis    121 Model Explanatory Synthesis: Going Up? An Elevator Ride to Space—Sheldon Kearney   122 BOX: Critical Reading for Synthesis    129 Chapter 5 Argument Synthesis   130 What Is an Argument Synthesis?    130 The Elements of Argument: Claim, Support, and Assumption   131 EXERCISE 5.1: Practicing Claim, Support, and Assumption    132 xiii xiv Detailed Contents The Three Appeals of Argument: Logos, Ethos, Pathos   132 Logos    133 EXERCISE 5.2: Using Deductive and Inductive Logic    134 Ethos    134 EXERCISE 5.3: Using Ethos   135 Pathos    135 EXERCISE 5.4: Using Pathos   137 The Limits of Argument    137 Fruitful Topics for Argument    137 Demonstration: Developing an Argument Synthesis—Responding to Bullies   138 Bullying Statistics—Pacer.org   139 The 2011 National School Climate Survey: The Experiences of Lesbian, Gay, Bisexual and Transgender Youth in Our Nation’s Schools—Joseph Kosciw et al.    140 Olweus Bullying Prevention Program: Scope and Sequence—Publisher Catalogue Description   141 White House Report/Bullying—And the Power of Peers —Philip Rodkin   142 EXERCISE 5.5: Critical Reading for Synthesis    143 The Argument Synthesis   144 Consider Your Purpose   144 Making a Claim: Formulate a Thesis    145 Decide How You Will Use Your Source Material    146 Develop an Organizational Plan    146 Formulate an Argument Strategy    147 Draft and Revise Your Synthesis    148 Model Argument Synthesis: Responding to Bullies—Peter Simmons   148 The Strategy of the Argument Synthesis    157 Developing and Organizing the Support for Your Arguments    161 Summarize, Paraphrase, and Quote Supporting Evidence    161 Provide Various Types of Evidence and Motivational Appeals    162 Use Climactic Order   162 Use Logical or Conventional Order    162 Present and Respond to Counterarguments    163 Detailed Contents Use Concession   163 BOX: Developing and Organizing Support for Your Arguments    164 Avoid Common Fallacies in Developing and Using Support    164 The Comparison-and-Contrast Synthesis   165 Organizing Comparison-and-Contrast Syntheses   165 Organizing by Source or Subject    165 Organizing by Criteria    166 EXERCISE 5.6: Comparing and Contrasting    167 A Case for Comparison-and-Contrast: World War I and World War II   167 Comparison-and-Contrast Organized by Criteria    168 Model Exam Response    169 The Strategy of the Exam Response    171 Summary of Synthesis Chapters    172 Chapter 6 Analysis   174 What Is an Analysis?    174 BOX: Where Do We Find Written Analyses?    175 How to Write Analyses    176 The Plug-In Drug—Marie Winn   177 EXERCISE 6.1: Reading Critically: Winn    178 Locate and Apply an Analytic Tool    178 Locate an Analytic Tool    179 Apply the Analytic Tool    180 Analysis Across the Curriculum    180 BOX: Guidelines for Writing Analyses    181 Formulate a Thesis   182 Develop an Organizational Plan    182 Turning Key Elements of a Principle or a Definition into Questions    182 Developing the Paragraph-by-Paragraph Logic of Your Paper    182 Draft and Revise Your Analysis    184 Write an Analysis, Not a Summary    184 Make Your Analysis Systematic    185 Answer the “So What?” Question    185 Attribute Sources Appropriately    185 xv xvi Detailed Contents BOX: Critical Reading for Analysis    185 When Your Perspective Guides the Analysis    186 Demonstration: Analysis   187 Model Analysis: The Case of the Missing Kidney: An Analysis of Rumor—Linda Shanker   188 EXERCISE 6.2: Informal Analysis of the Model Analysis    194 The Strategy of the Analysis    194 Chapter 7 Locating, Mining, and Citing Sources    196 Source-Based Papers   196 BOX: Where Do We Find Written Research?    197 BOX: Writing the Research Paper    197 The Research Question   199 BOX: Narrowing the Topic via Research    200 EXERCISE 7.1: Constructing Research Questions    200 LOCATING SOURCES   200 BOX: Types of Research Data    201 Preliminary Research   201 Consulting Knowledgeable People    201 Familiarizing Yourself with Your Library’s Resources    202 Locating Preliminary Sources    203 Encyclopedias   204 BOX: Wikipedia: Let the Buyer Beware    205 EXERCISE 7.2: Exploring Specialized Encyclopedias    205 Biographical Sources   206 Almanacs and Yearbooks   206 Literature Guides and Handbooks    207 Overviews and Bibliographies   207 Subject-Heading Guides    207 Focused Research   208 Databases   208 Smartphones and Database Searching    210 Discovery Services   211 Web Searches   212 BOX: Constructing an Effective Database Search Query    212 Detailed Contents Searching Databases Effectively    213 BOX: Using Keywords and Boolean Logic to Refine Online Searches    214 Evaluating Web Sources   215 Other Pitfalls of Web Sites    216 EXERCISE 7.3: Exploring Online Sources    216 EXERCISE 7.4: Practice Evaluating Web Sources    217 Periodicals: General   217 Magazines    217 Newspapers    217 Periodicals: Specialized   218 EXERCISE 7.5: Exploring Specialized Periodicals    219 Books   219 Book Reviews    219 Government Publications and Other Statistical Sources    220 Interviews and Surveys   221 BOX: Guidelines for Conducting Interviews    221 BOX: Guidelines for Conducting Surveys and Designing Questionnaires    222 MINING SOURCES   222 BOX: Critical Reading for Research    222 The Working Bibliography   223 Note-Taking   225 Getting the Most from Your Reading    226 BOX: Guidelines for Evaluating Sources    227 Arranging Your Notes: The Outline    227 Research and Plagiarism   229 Time Management and Plagiarism    229 Confidence and Plagiarism   229 Note-Taking and Plagiarism   230 Digital Life and Plagiarism    230 Determining Common Knowledge   230 A Guideline for Determining Common Knowledge    231 Plagiarism, the Internet, and Fair Use    231 Internet Paper Mills   232 BOX: Fair Use and Digital Media    232 xvii xviii Detailed Contents citing sources   232 BOX: Types of Citations    232 APA Documentation Basics   233 APA In-Text Citations in Brief    233 APA References List in Brief    234 MLA Documentation Basics   235 MLA In-Text Citations in Brief    235 MLA Works Cited List in Brief    236 II Pa r t Brief Takes   239 MUSIC    Chapter 8 “Stormy Weather” and the Art of the Musical Cover   241 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 useful 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 We w to Ho Ta lk—and Write—About Po pa a Contr Com ring nd —Greg Blair   251 Why A oDSome a eHrtful of “ ss ignment as ting T hree Arlen and Ted Koehler    243 p ra uMi ul Cover s of s—Greg c Blair   246 “Stormy We a ” ther si D sapp oint?—Jeff Turrentine   253 Cover Ha lleluj G tea t sCover The re listings   259 The A a ”—Harold ther s of ha ”—Leonard All Cohen   257 T —Rolling ime Stone magazine and other     262 Ethics Chapter 9 Ethical Dilemmas in Everyday Life    264 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 Detailed Contents 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    265 BOX: Group Assignment #1: Make a Topic List    266 BOX: Group Assignment #2: Create a Topic Web    267 BOX: Group Assignment #3: Decide for Yourself    267 The Readings and Videos    267 What If . . .—Daniel Sokol   267 BOX: Video Link: The Trolley Car    271 The Case of the Collapsed Mine—Richard T. De George   271 A Framework for Thinking Ethically—Manual Velasquez et al.   274 Moral Inquiry—Ronald F. White   279 BOX: Video Link: Grey’s Anatomy (a medical dilemma)    282 Heinz’s Dilemma: Kohlberg’s Six Stages of Moral Development —William Crain   282 BOX: Video Link: The Heinz Dilemma    289 A Casebook of Ethical Dilemmas    289 The Lifeboat—Rosetta Lee   289 Lifeboat Ethics: The Case Against Helping the Poor—Garrett Hardin   290 Should I Protect a Patient at the Expense of an Innocent Stranger?—Chuck Klosterman   291 No Edit—Randy Cohen   293 The Tortured Child—Kelley L. Ross   294 The Ones Who Walk Away from Omelas—Ursula Le Guin   294 BOX: Video Link: The Drowning Child by Peter Singer    295 A Callous Passerby—Kelley L. Ross   295 The Assignments Summary   295  •  Alternate Summary Assignment   296   •  Critique   296  •  Explanatory Synthesis   297   •  Analysis   299  •  Alternate Analysis Assignment   299   •  Argument   300  •  Alternate Argument Assignment #1    301   •  Alternate Argument Assignment #2    301 xix xx Detailed Contents Sociology Chapter 10 The Roar of the Tiger Mom    302 “Here are some things my daughters, Sophia and Louisa, were never allowed to do,” announces Yale law school professor Amy Chua in her book 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 comments 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 become successful adults. Read; Prepare to Write    303 BOX: Group Assignment #1: Make a Topic List    303 BOX: Group Assignment #2: Create a Topic Web    304 The Readings Adapted from Battle Hymn of the Tiger Mother—Amy Chua   304 Mother Inferior?—Hanna Rosin   309 Amy Chua is a Wimp—David Brooks   312 Tiger Mother Stirs Reflections on Parenthood—Tina Griego   314 Tiger Mom vs. Tiger Mailroom—Patrick Goldstein   316 America’s Top Parent—Elizabeth Kolbert   318 Tiger Moms Don’t Raise Superior Kids, Says New Study—Susan Adams   322 The Assignments Summary   325  •  Critique   325  •  Explanatory Synthesis   327   •  Analysis   327  •  Argument   329 Pa r t III An Anthology of Readings    331 Literature and Film Chapter 11 First Impressions: The Art and Craft of Storytelling   333 The Art and Craft of Starting Your Story    337 The Hook—K. M. Weiland   337 “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.” Detailed Contents Starting Your Story—Michael Kardos   343 Novelist and short story writer Michael Kardos discusses the five narrative tasks that the beginning of a story must accomplish. Perhaps the most crucial: “Give us a reason to keep reading.” The Magic Show—Tim O’Brien   356 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    361 Emma—Jane Austen   361 Austin’s fourth published novel chronicles the intrusive matchmaking of a privileged young woman, Emma Woodhouse, in nineteenth-century England. Wuthering Heights—Emily Brontë   368 Set on the desolate English moors, Wuthering Heights explores love and revenge and madness through the love story of Catherine Earnshaw and Mr. Heathcliff. Jane Eyre—Charlotte Brontë   372 This coming-of-age novel chronicles the life of its title character from childhood to marriage. Great Expectations—Charles Dickens   376 Often considered Dickens’s finest novel, Great Expectations is the coming-of-age story of an English orphan named Pip. The Sign of the Four—Arthur Conan Doyle   380 This is Doyle’s second novel starring Sherlock Holmes, the world’s only “unofficial consulting detective.” The Red Badge of Courage—Stephen Crane   387 Set in Virginia in 1863, Crane’s second novel depicts a young man, Henry Fleming, who is fighting for the Union army during the American Civil War. Dracula—Bram Stoker   394 Here is the archetypal vampire novel to which all subsequent vampire novels (and shows, and movies) are indebted. Scene Ones: The Films    403 Jane Eyre—directed by Robert Stevenson    404 This is only one—but an influential one—of numerous film versions of Brontë’s romantic novel. Great Expectations—directed by David Lean    405 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 Douglas McGrath, and Clueless—directed by Amy Heckerling   406 Here are two versions of Austen’s classic novel—the first a period piece, like Austen’s novel, set in county Surrey, England, the second set in Beverly Hills. xxi xxii Detailed Contents Dracula—directed by Tod Browning, and Bram Stoker’s Dracula —directed by Francis Ford Coppola    408 Here are two film versions of Bram Stoker’s classic vampire story, created more than sixty years apart by directors with very different artistic visions. The Red Badge of Courage—directed by John Huston    409 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   411 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    412 This is one of the greatest romantic dramas ever filmed—in a typically restrained British fashion. Shane—directed by George Stevens    413 In many ways, Shane 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    415 The greatest gangster film ever made is also a family drama—which begins at a wedding celebration. Sleepless in Seattle—directed by Nora Ephron    417 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    418 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    419 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 girlfriend of a Los Angeles mayoral candidate. Chicago—directed by Rob Marshall    421 Kander and Ebb’s scintillating musical about a couple of female murderers begins with two knockout songs set partially in the characters’ heads. The Hurt Locker—directed by Kathryn Bigelow    422 This tense film chronicles the daily life-and-death struggles of a bomb disposal unit during the Iraq War. Detailed Contents Gravity—directed by Alfonso Cuarón    424 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    425 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   426 Economics    Chapter 12 The Changing Landscape of Work in the Twenty-First Century   429 The Puzzling U.S. Labor Market    431 A Post-College Flow Chart of Misery and Pain—Jenna Brager    432 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   433 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   435 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   440 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   446 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    451 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 earn when 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   452 xxiii xxiv Detailed Contents Unemployment and Earnings for College Majors—Georgetown Public Policy Institute/Center for Education and the Workforce    455 Earnings and Unemployment Rates by Educational Attainment —Bureau of Labor Statistics    456 Employment Projections 2012–2022—Bureau of Labor Statistics    457 Occupation Finder—Bureau of Labor Statistics    458 Debate: Should You Do What You Love?    460 Do What You Love—Steve Jobs   461 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 Haden   463 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   466 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   468 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   473  •  Research Activities   475 Sociology Chapter 13 Have You Heard This? The Latest on Rumor   477 The Gossips—Norman Rockwell   480 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   482 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   484 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.” Detailed Contents Anatomy of a Rumor: It Flies on Fear—Daniel Goleman   486 “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 contemporary social scientists are ­doing to understand—and prevail against—a timeless and universal human phenomenon. Fighting That Old Devil Rumor—Sandra Salmans   491 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   496 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   499 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 to the other side? The Runaway Grandmother—Jan Harold Brunvand   504 Car with dead granny on roof stolen—news at 11! How and Why Rumors Work—And How to Stop Them—Nicholas DiFonzo   511 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   512 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   518 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   519  •  Research Activities   521 Philosophy Chapter 14 Happiness and Its Discontents   523 Happiness—Jane Kenyon   525 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.” xxv xxvi Detailed Contents Pig Happiness?—Lynne McFall   527 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   530 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   533 A writer making a “shabby” living plays host to a revered religious leader—and learns the meaning of life. A Balanced Psychology and a Full Life—Martin E. P. Seligman, Acacia C. Parks, and Tracy Steen    538 A founder of positive psychology explains key principles of the young science and claims that “three routes to happiness (pleasure, gratification, and meaning)” can be taught and nurtured. Finding Flow—Mihaly Csikszentmihalyi   544 Another founder of positive psychology defines a key component of happiness as “flow”—the state of being so immersed 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   549 Conventional wisdom tells us that money can’t buy happiness. Researchers think that it can—up to a point. Happiness: Enough Already—Sharon Begley   554 “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.” Is there a downside to being too happy? Happy Like God—Simon Critchley   559 “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   562 An entrepreneur rejects the application of happiness studies to business—labeling Human Resources personnel “happy-employee propagandists.” What Suffering Does—David Brooks   566 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   568  •  Research Activities   570 Detailed Contents Psychology Chapter 15 Obedience to Authority   572 Disobedience as a Psychological and Moral Problem— Erich Fromm   574 “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    579 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   583 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   591 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   594 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   597 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    603 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 chilling) results. Synthesis Activities   605  •  Research Activities   607 Credits 611 Index 619 Checklists for Writing Summaries, Critiques, Syntheses, Analyses 634 xxvii This page intentionally left blank P r e f a c e f o r I n s t r u c t o r s W hen Writing and Reading Across the Curriculum was first published, the response was both immediate and enthusiastic. Instructors found the topics in WRAC both interesting and teachable, and students appreciated the links that such topics suggested to the courses they were taking concurrently in the humanities, the social sciences, and the sciences. Readers told us how practical they found our “summary, synthesis, and critique” approach to writing college-level papers, and in later editions welcomed the addition of “analysis” to our coverage in Part I. In developing each successive edition of WRAC, we strive to retain the essential multidisciplinary character of the text while providing ample new topics and individual readings to keep it fresh and timely. Some topics have proven particularly enduring—our “Obedience” chapter has been a fixture. But we take care to make sure that at least half of the book is completely new every time, both by extensively revising existing chapters and by creating new ones. While we retain an emphasis on summary, critique, synthesis, and analysis, we continue to develop content on topics such as the process of writing and argumentation that address the issues and interests of today’s classrooms. What’s New in This Edition? • Over 60 new readings throughout the book span the disciplines, represent a range of perspectives, and encourage students to write critical responses, summaries, analyses, and syntheses. • A new research chapter, “Locating, Mining, and Citing Sources,” details the latest developments in digital resources and search strategies; includes a new discussion of plagiarism, its causes, and strategies for fair and accurate source citation; and incorporates the latest MLA and APA citation formats (Ch. 7). • A new “Brief Takes” chapter on “‘Stormy Weather’ and the Art of the ­Musical Cover” introduces students to writing about music. The chapter provides a model comparative analysis of three versions of “Stormy ­Weather,” directs students to a series of music glossary v ­ ideos that explain and demonstrate key musical concepts, and includes suggestions for exploring and evaluating covers of more recent works, such as Leonard C ­ ohen’s ­“Hallelujah” (Ch. 8). • A new “Brief Takes” chapter on “Ethical Dilemmas in Everyday Life” invites readers to apply classic principles of ethics—like utilitarianism—to argue for one or another course of action within more than a dozen scenarios. A carefully sequenced set of assignments (summary, critique, synthesis, and analysis) guides students through the readings and offers principles for choosing among the competing demands of ethical dilemmas (Ch. 9). xxix xxx Preface • A new anthology chapter, “First Impressions,” provides three readings that discuss what elements should be at work in effective openings, then prompts students to consider opening scenes of eighteen films and seven classic ­novels. Students then apply a critical apparatus for understanding how storytellers engage their audiences (Ch. 11). • An almost entirely revised “The Changing Landscape of Work in the ­Twenty-First Century” continues to emphasize the promise and perils of the new economy as well as to draw from a number of disciplines—­ including economics, sociology, public policy, business, and investigative journalism. The chapter features thirteen new selections that ensure ­currency and explore the changing nature of work, the role of technology in these changes, and the ­security of jobs (Ch. 12). • A new student model paper on the topic of bullying explores characteristics of bullying; its extent and effects; and national, state, and local solutions to the problem. The model paper builds on articles in the chapter itself (and on other sources) to illustrate methods for bringing multiple voices into an argument in support of a writer’s claim (Ch. 5). • A new reading selection and model summary not only demonstrate ­summary skills but also offer a provocative view of empathy: one that argues against using our tendency to identify with the suffering of others as a guide to public policy (Ch. 1). • New examples model strategies for effective introductions and conclusions (Ch. 3). • Online text and video sources are referenced throughout with recommended search terms and strategies. Structure and Signature Strengths Structure Writing and Reading Acr oss the Curriculum is divided into a rhetoric and an ­anthology of readings. The anthology of readings is further subdivided into two parts, the first of these serving as a kind of bridge between the rhetoric and the anthology. Part I takes students step-by-step through the process of writing papers based on source material, explaining and demonstrating how summaries, critiques, syntheses, and analyses can be generated from the kinds of readings students will encounter later in the book—and throughout their academic careers. Part II, “Brief Takes,” offers mini-chapters of five to seven readings that are accompanied by a set of sequential writing exercises. We see working on one or more of these brief takes as a kind of “warm-up” exercise for the more intensive intellectual activities involved in tackling the full-length chapters. “The Roar of the Tiger Mom” is carried over from the previous edition. Two new mini-chapters, “Ethical Dilemmas in Everyday Life” and “‘Stormy Weather’ and the Art of the Musical Cover,” round out this section of the text. Preface Part III offers full-length anthology chapters of ten or so readings (­approximately 75 pages) on compelling topics selected to stimulate student ­interest. Tackling a range of perspectives, voices, and writing and argument strategies, these units immerse students in the kinds of sustained reading and writing required for other college courses. Signature Strengths Continued focus on argument in Part I emphasizes the following: • The Elements of Argument: Claim, Support, Assumption. This section adapts the Toulmin approach to the kinds of readings students will encounter in Parts II and III of the text. • The Three Appeals of Logos, Ethos, Pathos. This discussion may be used to analyze arguments in the readings in Parts II and III of the book. • Developing and Organizing the Support for Your Arguments. This section helps students mine source materials for facts, expert opinions, and examples that will support their arguments. • Annotated Student Argument Paper. A sample student paper highlights and discusses argumentative strategies that a student writer uses in drafting and developing a paper. Resources for Teachers and Students Now Available for Composition MyWritingLab™ Integrated solutions for writing. MyWritingLab is an online homework, tutorial, and assessment program that provides engaging experiences to today’s instructors and students. New features designed specifically for composition instructors and their course needs include a new writing space for students, customizable rubrics for assessing and grading student writing, multimedia instruction on all aspects of composition, and advanced reporting to improve the ability to analyze class performance. Adaptive learning. MyWritingLab offers pre-assessments and personalized remediation so students see improved results and instructors spend less time in class reviewing the basics. Visit www.mywritinglab.com for more information. eTextbooks Pearson eText. This electronic option gives students access to Writing and Reading Across the Curriculum, thirteenth edition, whenever and wherever they can access the Internet. The eText pages look exactly like the printed text, and include powerful interactive and customization functions. Users can create notes, highlight text in different colors, create bookmarks, zoom, click hyperlinked words and phrases to view definitions, and view as a single page or as two pages. Pearson eText also links students to associated media files, enabling them to view ­videos xxxi xxxii Preface as they read the text, and offers a full-text search and the ability to save and e­ xport notes. The Pearson eText also includes embedded URLs in the chapter text with active links to the Internet. The Pearson eText app is a great companion to Pearson’s eText browser-based book reader. It allows existing subscribers who view their Pearson eText titles on a Mac or PC to additionally access their titles in a bookshelf on the iPad or an Android tablet either online or via download. CourseSmart eTextbook. Students can subscribe to Writing and Reading Across the Curriculum at CourseSmart.com. The format of the eText allows students to search the text, bookmark passages, save their own notes, and print reading a­ ssignments that incorporate lecture notes. Instructor’s Manual The Instructor’s Manual for the thirteenth edition of Writing and Reading Across the Curriculum provides sample syllabi and course calendars, chapter summaries, classroom ideas for writing assignments, introductions to each set of readings, and answers to review questions. Acknowledgments We have benefited over the years from the suggestions and insights of many teachers—and students—across the country. We would especially like to thank these reviewers of the thirteenth edition: Dr. Iona Joseph Abraham, Lorain County Community College; Dianne Donnelly, University of South Florida; William Donovan, Idaho State University; Derek G. Handley, Community College of Allegheny County; Deanna M. Jessup, Indiana University; Kim Karshner, Lorain County Community College; Eliot Parker, Mountwest Community and Technical College; Denise Paster, Coastal Carolina University; and Mary R. Seel, SUNY Broome Community College. We would also like to thank the following reviewers for their help in the preparation of past editions: Angela Adams, Loyola University Chicago; James Allen, College of DuPage; Fabián Álvarez, Western Kentucky University; Chris Anson, North Carolina State University; Phillip Arrington, Eastern Michigan University; Anne Bailey, Southeastern Louisiana University; Carolyn Baker, San Antonio ­College; Joy Bashore, Central Virginia Community College; Nancy Blattner, Southeast Missouri State University; Mary Bly, University of California, Davis; Laurel Bollinger, University of Alabama in Huntsville; David Bordelon, Ocean County College; Bob Brannan, Johnson County Community College; Paul ­Buczkowski, Eastern Michigan University; Jennifer Bullis, Whatcom Community College; Paige Byam, Northern Kentucky University; Susan Callendar, Sinclair Community ­ ­ College; Anne Carr, Southeast Community College; Jeff Carroll, ­University of H ­ awaii; ­Joseph Rocky Colavito, Northwestern State University; Michael ­Colonneses, Methodist College; James A. Cornette, Christopher Newport University; Timothy Corrigan, Temple University; Kathryn J. Dawson, Ball Preface State University; Cathy Powers Dice, University of Memphis; Kathleen Dooley, Tidewater Community College; Judith Eastman, Orange Coast College; David Elias, Eastern Kentucky University; Susan Boyd English, Kirkwood Community College; Kathy Evertz, University of Wyoming; Kathy Ford, Lake Land College; University of Wyoming; Wanda Fries, Somerset Community College; Bill Gholson, Southern Oregon University; Karen Gordon, Elgin Community College; Deborah Gutschera, College of DuPage; Lila M. Harper, Central Washington University; M. Todd Harper, University of Louisville; Kip Harvigsen, Ricks College; Michael Hogan, Southeast Missouri State University; Sandra M. Jensen, Lane Community College; Anita Johnson, Whatcom Community College; Mark Jones, University of Florida; Daven M. Kari, Vanguard University; Jane Kaufman, University of Akron; Kerrie Kawasaki-Hull, Ohlone College; Rodney Keller, Ricks College; Walt Klarner, Johnson County Community College; Jeffery Klausman, Whatcom Community College; Alison Kuehner, Ohlone College; Michelle LaFrance, University of Massachusetts Dartmouth; William B. Lalicker, West Chester University; Dawn Leonard, Charleston Southern University; Lindsay Lewan, Arapahoe Community College; Clifford L. Lewis, U Mass Lowell; Signee Lynch, Whatcom Community College; Jolie Martin; San Francisco State University; Meg Matheny, Jefferson Community and Technical College, Southwest; Krista L. May, Texas A&M University; Kathy Mendt, Front Range Community College–Larimer Campus; RoseAnn Morgan, Middlesex County College; David Moton, Bakersfield College; Roark Mulligan, Christopher Newport University; Joan Mullin, University of Toledo; Stella Nesanovich, McNeese State University; Catherine Olson, Lone Star College-Tomall; Susie Paul, Auburn University at Montgomery; Thomas Pfau, Bellevue Community College; Jeff Pruchnic, Wayne State University; Aaron Race, Southern Illinois University–Carbondale; Nancy Redmond, Long Beach City College; Deborah Reese, University of Texas at Arlington; Alison Reynolds, University of Florida; Priscilla Riggle, Bowling Green State University; Jeanette Riley, University of New Mexico; Robert Rongner, Whatcom Community College; Sarah C. Ross, Southeastern Louisiana University; Deborah L. Ruth, Owensboro Community & Technical College; Amy Rybak, Bowling Green State University; Raul Sanchez, University of Utah; Mary R. Seel, Broome Community College; Rebecca Shapiro, Westminster College; Mary Sheldon, Washburn University; Horacio Sierra, University of Florida; Philip Sipiora, University of Southern Florida; Joyce Smoot, Virginia Tech; Ellen Sorg, Owens Community College; Bonnie A. Spears, Chaffey College; Bonnie Startt, Tidewater Community College; R. E. Stratton, University of Alaska–Fairbanks; Katherine M. Thomas, Southeast Community College; Scott Vander Ploeg, Madisonville Community College; Victor Villanueva, Washington State University; Deron Walker, California Baptist University; Jackie Wheeler, Arizona State University; Pat Stephens Williams, Southern Illinois University at Carbondale; and Kristin Woolever, Northeastern University. ­ anta Barbara The authors wish to thank Robert Krut, of the University of California, S Writing Program, for his contributions to the new “Rumor” chapter. We also acknowledge the work of Barbara Magalnick in contributing to the “­ Summary” and “Ethical Dilemmas” chapters. For their numerous comments and suggestions on developing xxxiii xxxiv Preface the research chapter, “Locating, Mining, and ­Citing Sources,” we thank Ayanna Gaines, associate librarian at Ventura College, and Richard Caldwell, head of library instruction at the University of California, Santa Barbara Library. For his consultation on the model synthesis “Responding to Bullies” in ­Chapter 4, we gratefully acknowledge the assistance of Philip Rodkin, Professor of ­Psychology at the University of Illinois at Urbana-Champaign. Tragically, Phil died in May 2014, and he will be sorely missed by all who knew him. We thank musician Greg Blair for his expertise in writing the model p ­ aper on “Stormy Weather” and for creating a series of entertaining and instructive v ­ ideos to accompany his glossary of musical terms. For this edition we were fortunate indeed to work with Michael Kardos, who codirects the creative writing program at Mississippi State University. Mike ­contributed in equal part to the new chapters on “‘Stormy Weather’ and the Art of the Musical Cover” and “First Impressions: The Art and Craft of Storytelling.” Participating in the development and writing of these chapters, he was an inexhaustible fount of good ideas and good humor. His deep knowledge of literature, the art of storytelling, and the contemporary music scene were invaluable to us. Finally, special thanks to Brad Potthoff, Anne Shure, Shannon Kobran, Joseph Croscup, and Margaret McConnell for helping shepherd the manuscript through the editorial and production process. And our continued gratitude to Joe Opiela, longtime friend and supporter. Laurence Behrens Leonard J. Rosen A N o t e t o t h e S t u d e n t Y our sociology professor asks you to write a paper on attitudes toward the homeless population of an area near your campus. You are expected to consult online sources, articles, and books on the subject. You are also ­encouraged to conduct surveys and interviews. Your professor is making a number of assumptions about your capabilities— among them, that you can: • research and assess the value of relevant sources; • comprehend college-level material, both print and digital; • use theories and principles learned from one set of sources as tools to investigate other sources (or events, people, places, or things); • synthesize separate but related sources; • intelligently respond to such material. In fact, these same assumptions underlie practically all college writing ­assignments. Your professors will expect you to demonstrate that you can read and understand not only textbooks, but also critical articles and books, primary sources, Internet sources, online academic databases, and other material related to a particular ­subject of study. An example: For a paper on the changing nature of the workforce in the twentyfirst century, you would probably look to articles and Internet sources for the latest information. Using an online database, you might find articles in such journals as the Green Labor Journal, the Economic Journal, and the Journal of Labor Research, as well as in leading newspapers and magazines. A Web search might lead you to the Occupational Employment Statistics homepage, published online by the Bureau of Labor Statistics. You’d be expected to assess the relevance of such sources to your topic and to draw from them the information and ideas you need. The final product of your research and reading might not be a conventional paper at all, but rather a Web site that alerts students to job categories experts think are expanding or disappearing. You might, for a different class, be assigned a research paper on the films of director Wes Anderson. To get started, you might consult your film studies textbook, biographical sources on Anderson, and anthologies of criticism. Instructor and peer feedback on a first draft might lead you to articles in both popular magazines (such as Time) and scholarly journals (such as Literature/Film Quarterly); you might also consult relevant Web sites (such as the Internet Movie Database). These two example assignments are very different, of course, but the skills you need to work on them are the same. You must be able to research relevant ­sources, read and comprehend these sources, perceive the relationships among several ­pieces of source material, and apply your own critical judgments to these materials.   xxxv xxxvi A Note to the Student Writing and Reading Acr oss the Curriculum provides you with the opportunity to practice the essential college-level skills we have just outlined and the forms of writing associated with them, namely: • • • • the summary the critique the synthesis the analysis Each chapter of Parts II and III of this text represents a subject from a particular area of the academic curriculum: Sociology, Economics, Psychology, Business, Public Policy, Music, Literary Studies, Ethics, Film Studies, and Philosophy. These chapters—dealing with such topics as rumor, the pursuit of happiness, obedience to authority, and ethical dilemmas—illustrate the types of material you might study in your other courses. Questions following the readings will allow you to practice typical college writing assignments: • “Review Questions” help you recall key points of content. • “Discussion and Writing Suggestions” ask you for personal responses to readings. • “Synthesis Activities” allow you to practice assignments of the type that are covered in detail in Part I of this book. For instance, you may be asked to summarize the Milgram experiment and the reactions to it, or to compare and contrast a controlled experiment with a real-life (or fictional) situation. • “Research Activities” ask you to go beyond the readings in this text and to conduct your own independent research on these subjects. In this book, you’ll find articles and essays written by literary critics, sociologists, psychologists, musicians, attorneys, political scientists, journalists, and specialists from other fields. Our aim is that you become familiar with the various subjects and styles of academic writing and that you come to appreciate the interrelatedness of ­knowledge. Happiness can be studied by philosophers, psychologists, sociologists, economists, geographers, religious thinkers, and poets. Human ­ ­activity and human behavior are classified into separate subjects only for convenience. The novel you read in your literature course may be able to shed some light upon an assigned article for your economics course—and vice versa. We hope, therefore, that your writing course will serve as a kind of bridge to your other courses and that, as a result of this work, you will become more skillful at perceiving relationships among diverse topics. Because it involves such critical and widely applicable skills, your writing course may well turn out to be one of the most valuable—and one of the most interesting—of your academic career. Laurence Behrens Leonard J. Rosen Writing and Reading Across the Curriculum Thirteenth Edition This page intentionally left blank Writing and Reading Across the Curriculum Thirteenth Edition Checklist for Writing Summaries • Read the passage carefully. Determine its structure. Identify the authors’ purpose. • Reread. Label each state of thought. Underline key ideas and terms. • Write one-sentence summaries of each state of thought. • Write a thesis: a one- or two-sentence summary of the entire passage. • Write the first draft of your summary. • Check your summary against the original passage. • Revise and edit your summary. Checklist For Writing Critiques • Introduce both the passage being critiqued and the author. • Summarize the author’s main points, making sure to state the author’s ­purpose for writing. • Evaluate the validity of the author’s presentation. • Respond to the author’s presentation. • Conclude by summing up your assessment of the overall validity of the piece. P I a r t Structures and Strategies Chapter Chapter Chapter Chapter Chapter Chapter Chapter 1 2 3 4 5 6 7 Summary, Paraphrase, and Quotation Critical Reading and Critique Thesis, Introduction, and Conclusion Explanatory Synthesis Argument Synthesis Analysis Locating, Mining, and Citing Sources This page intentionally left blank C h a p t e r 1 Summary, Paraphrase, and Quotation After completing this chapter, you will be able to: 1.1 1.2 1.3 1.4 1.5 1.6 1.7 Explain what a summary is. Apply systematic strategies as you read in order to prepare a summary. Write summaries of varying lengths. Write summaries of visual presentations, including graphs, charts, and tables. Write paraphrases to clarify difficult or confusing source material. Use direct and indirect quotations, and integrate them into your writing. Avoid plagiarism by citing sources and using your own words and sentence structure. What is a Summary? 1.1 Explain what a summary is. The best way to demonstrate that you understand the information and the ideas in any piece of writing is to compose an accurate and clearly written summary of that piece. By a summary we mean a brief restatement, in your own words, of the content of a passage (a group of paragraphs, a chapter, an article, a book). This restatement should focus on the central idea of the passage. The briefest of summaries (one or two sentences) will do no more than this. A longer, more complete summary will indicate, in condensed form, the main points in the passage that support or explain the central idea. It will reflect the order in which these points are presented and the emphasis given to them. It may even include some important examples from the passage. But it will not include minor details. It will not repeat points simply for the purpose of emphasis. And it will not contain any of your own opinions or conclusions. A good summary, therefore, has three central qualities: brevity, completeness, and objectivity. 3 4 Chapter 1 Summary, Paraphrase, and Quotation Can a Summary Be Objective? Of course, the last quality mentioned, objectivity, might be difficult to achieve in a summary. By definition, writing a summary requires you to select some aspects of the original and leave out others. Since deciding what to select and what to leave out calls for your personal judgment, your summary really is a work of interpretation. And, certainly, your interpretation of a passage may differ from another person’s. One factor affecting the nature and quality of your interpretation is your prior knowledge of the subject. For example, if you’re attempting to summarize an anthropological article and you’re a novice in that field, then your summary of the article will likely differ from that of your professor, who has spent 20 years studying this particular area and whose judgment about what is more or less significant is undoubtedly more reliable than your own. By the same token, your personal or professional frame of reference may also affect your interpretation. A union representative and a management representative attempting to summarize the latest management offer would probably come up with two very different accounts. Still, we believe that in most cases it’s possible to produce a reasonably objective summary of a passage if you make a conscious, good-faith effort to be unbiased and to prevent your own feelings on the subject from distorting your account of the text. Where Do We Find Written Summaries? Here are just a few of the types of writing that involve summary: Academic Writing • Critique papers. Summarize material in order to critique it. • Synthesis papers. Summarize to show relationships between sources. • Analysis papers. Summarize theoretical perspectives before applying them. • Research papers. Note-taking and reporting research require summary. • Literature reviews. Overviews of work presented in brief summaries. • Argument papers. Summarize evidence and opposing arguments. • Essay exams. Demonstrate understanding of course materials through summary. Workplace Writing • Policy briefs. Condense complex public policy. • Business plans. Summarize costs, relevant environmental impacts, and other important matters. • Memos, letters, and reports. Summarize procedures, meetings, product assessments, expenditures, and more. • Medical charts. Record patient data in summarized form. • Legal briefs. Summarize relevant facts of cases. The Reading Process Using The Summary In some quarters, the summary has a bad reputation—and with reason. Summaries often are provided by writers as substitutes for analyses. As students, many of us have summarized books that we were supposed to review critically. All the same, the summary does have a place in respectable college work. First, writing a summary is an excellent way to understand what you read. This in itself is an important goal of academic study. If you don’t understand your source material, chances are you won’t be able to refer to it usefully in an essay or research paper. Summaries help you understand what you read because they force you to put the text into your own words. Practice with writing summaries also develops your general writing habits because a good summary, like any other piece of good writing, is clear, coherent, and accurate. Second, summaries are useful to your readers. Let’s say you’re writing a ­paper about the McCarthy era in the United States, and in part of that paper you want to discuss Arthur Miller’s Crucible as a dramatic treatment of the subject. A summary of the plot would be helpful to a reader who hasn’t seen or read—or who doesn’t remember—the play. Or perhaps you’re writing a paper about the politics of recent American military interventions. If your reader isn’t likely to be familiar with American actions in Kosovo and Afghanistan, it would be a good idea to summarize these events at some early point in the paper. In many cases (an exam, for instance), you can use a summary to demonstrate your knowledge of what your professor already knows; when writing a paper, you can use a summary to inform your professor about some relatively unfamiliar source. Third, summaries are required frequently in college-level writing. For example, on a psychology midterm, you may be asked to explain Carl Jung’s theory of the collective unconscious and to show how it differs from Sigmund Freud’s theory of the personal unconscious. You may have read about this theory in your textbook or in a supplementary article, or your instructor may have outlined it in his or her lecture. You can best demonstrate your understanding of Jung’s theory by summarizing it. Then you’ll proceed to contrast it with Freud’s theory—which, of course, you must also summarize. The Reading Process It may seem to you that being able to tell (or retell) in summary form exactly what a passage says is a skill that ought to be taken for granted in anyone who can read at high school level. Unfortunately, this is not so: For all kinds of reasons, people don’t always read carefully. In fact, it’s probably safe to say that usually they don’t. Either they read so inattentively that they skip over words, phrases, or even whole sentences, or, if they do see the words in front of them, they see them without registering their significance. 1.2 Apply systematic strategies as you read in order to prepare a summary. 5 6 Chapter 1 Summary, Paraphrase, and Quotation When a reader fails to pick up the meaning and implications of a sentence or two, usually there’s no real harm done. (An exception: You could lose credit on an exam or paper because you failed to read or to realize the significance of a crucial direction by your instructor.) But over longer stretches—the paragraph, the section, the article, or the chapter—inattentive or haphazard reading interferes with your goals as a reader: to perceive the shape of the argument, to grasp the central idea, to determine the main points that compose it, to relate the parts of the whole, and to note key examples. This kind of reading takes a lot more energy and determination than casual reading. But, in the long run, it’s an energy-saving method because it enables you to retain the content of the material and to use that content as a basis for your own responses. In other words, it allows you to develop an accurate and coherent written discussion that goes beyond summary. Critical Reading for Summary • Examine the context. Note the credentials, occupation, and publications of the author. Identify the source in which the piece originally appeared. This information helps illuminate the author’s perspective on the topic he or she is addressing. • Note the title and subtitle. Some titles are straightforward, whereas the meanings of others become clearer as you read. In either case, titles typically identify the topic being addressed and often reveal the author’s attitude toward that topic. • Identify the main point. Whether a piece of writing contains a thesis statement in the first few paragraphs or builds its main point without stating it up front, look at the entire piece to arrive at an understanding of the overall point being made. • Identify the subordinate points. Notice the smaller subpoints that make up the main point, and make sure you understand how they relate to the main point. If a particular subpoint doesn’t clearly relate to the main point you’ve identified, you may need to modify your understanding of the main point. • Break the r eading into sections. Notice which paragraphs make up a piece’s ­introduction, body, and conclusion. Break up the body paragraphs into sections that address the writer’s various subpoints. • Distinguish between points, examples, counterar guments. Critical reading ­requires careful attention to what a writer is doing as well as what he or she is saying. When a writer quotes someone else or relays an example of something, ask yourself why this is being done. What point is the example supporting? Is another source being quoted as support for a point or as a counterargument that the writer sets out to address? • Watch for transitions within and between paragraphs. In order to follow the logic of a piece of writing, as well as to distinguish between points, examples, and counterarguments, pay attention to the transitional words and phrases writers use. Transitions function like road signs, preparing the reader for what’s next. How to Write Summaries • Read actively and recursively. Don’t treat reading as a passive, linear progression through a text. Instead, read as though you are engaged in a dialogue with the writer: Ask questions of the text as you read, make notes in the margin, underline key ideas in pencil, put question or exclamation marks next to passages that confuse or excite you. Go back to earlier points once you finish a reading, stop during your reading to recap what’s come so far, and move back and forth through a text. How to Write Summaries Every article you read will present a unique challenge as you work to summarize it. As you’ll discover, saying in a few words what has taken someone else a great many can be difficult. But like any other skill, the ability to summarize improves with practice. Here are a few pointers to get you started. They represent possible stages, or steps, in the process of writing a summary. These pointers are not meant to be ironclad rules; rather, they are designed to encourage habits of thinking that will allow you to vary your technique as the situation demands. 1.3 Write summaries of varying lengths. Guidelines for Writing Summaries • Read the passage carefully. Determine its structure. Identify the author’s purpose in writing. (This will help you distinguish between more important and less important information.) Make a note in the margin when you get confused or when you think something is important; highlight or underline points sparingly, if at all. • Reread. This time divide the passage into sections or stages of thought. The author’s use of paragraphing will often be a useful guide. Label, on the passage itself, each section or stage of thought. Underline key ideas and terms. Write notes in the margin. • Write one-sentence summaries, on a separate sheet of paper, of each stage of thought. • Write a thesis—a one- or two-sentence summary of the entire passage. The thesis should express the central idea of the passage, as you have determined it from the preceding steps. You may find it useful to follow the approach of most newspaper stories—naming the what, who, why, where, when, and how of the matter. For persuasive passages, summarize in a sentence the author’s conclusion. For descriptive passages, indicate the subject of the description and its key feature(s). Note: In some cases, a suitable thesis may already be in the original passage. If so, you may want to quote it directly in your summary. (continued) 7 8 Chapter 1 Summary, Paraphrase, and Quotation • Write the first draft of your summary by (1) combining the thesis with your list of one-sentence summaries or (2) combining the thesis with one-sentence summaries plus significant details from the passage. In either case, eliminate repetition and less important information. Disregard minor details or generalize them (e.g., George H. W. Bush and Bill Clinton might be generalized as “recent presidents”). Use as few words as possible to convey the main ideas. • Check your summary against the original passage and make whatever adjustments are necessary for accuracy and completeness. • Revise your summary, inserting transitional words and phrases where necessary to ensure coherence. Check for style. Avoid a series of short, choppy sentences. Combine sentences for a smooth, logical flow of ideas. Check for grammatical correctness, punctuation, and spelling. Demonstration: Summary To demonstrate these points at work, let’s go through the process of summarizing a passage of expository material—that is, writing that is meant to inform and/or persuade. The following essay, “The Baby in the Well,” concerns the topic of empathy, that aspect of our human nature that permits us to identify with others, “to feel their pain,” so to speak, and then to offer our help. The question of “Who deserves our help—and why?” is an interesting and difficult one. Someone who has suffered a terrible loss or someone in difficult circumstances (like the homeless person we pass on the street) may well prompt empathy and even strong feelings in us. Such feelings do us credit as individuals. But should our empathic impulses always serve as a guide for our personal actions? More broadly, should they serve as a guide for elected officials charged with designing and implementing public policies—for the homeless, for instance, or the chronically underemployed? In “The Baby in the Well,” Paul Bloom makes a provocative and counterintuitive argument about empathy. You may agree or disagree with his thesis. But before you take a position, you’ll have to understand the point he’s making and the support he offers for that point. “The Baby in the Well” is a challenging essay. Some of Bloom’s terminology may be unfamiliar (for instance, “cognitive neuroscience”—the study of the brain and how we think; or “neural systems”—the physical pathways our minds take in forming a thought or feeling). So keep a dictionary nearby. (Or, if you’re online, type “define [the unfamiliar term]” into the Google or Bing search box.) More challenging than the vocabulary may be ideas that test the limits of your understanding. But dealing with difficult ideas will be a common experience in your college-level classes. Indeed, it’s the whole point of studying topics you don’t know. What is important is that you use a systematic approach to understanding challenging reading material. We offer one such approach here. You may be pleasantly surprised: With a systematic approach and some perseverance, you will grasp the challenging material—and you will feel good about that. Demonstration: Summary First, read Bloom’s essay with care. Try to identify its component parts and ­understand how they work together to create a coherent argument. The Baby in the Well: The Case Against Empathy* Paul Bloom Paul Bloom, professor of psychology and cognitive science at Yale University, is also ­coeditor-in-chief of the scientific journal Behavioral and Brain Sciences. He is the author of ­numerous articles and books, including How Children Learn the Meaning of Words (2000) and How Pleasure Works: The New Science of How We Like What We Like (2010). This article appeared in the New Yorker on May 20, 2013. In 2008, Karina Encarnacion, an eight-year-old girl from Missouri, wrote to President-elect Barack Obama with some advice about what kind of dog he should get for his daughters. She also suggested that he enforce recycling and ban unnecessary wars. Obama wrote to thank her, and offered some advice of his own: “If you don’t already know what it means, I want you to look up the word ‘empathy’ in the dictionary. I believe we don’t have enough empathy in our world today, and it is up to your generation to change that.” This wasn’t the first time Obama had spoken up for empathy. Two years earlier, in a commencement address at Xavier University, he discussed the importance of being able “to see the world through the eyes of those who are different from us—the child who’s hungry, the steelworker who’s been laid off, the family who lost the entire life they built together when the storm came to town.” He went on, “When you think like this—when you choose to broaden your ambit of concern and empathize with the plight of others, whether they are close friends or distant strangers—it becomes harder not to act, harder not to help.” The word “empathy”—a rendering of the German Einfühlung, “feeling into”—is only a century old, but people have been interested for a long time in the moral implications of feeling our way into the lives of others. In “The Theory of Moral Sentiments” (1759), Adam Smith observed that sensory experience alone could not spur us toward sympathetic engagement with others: “Though our brother is upon the rack, as long as we ourselves are at our ease, our senses will never inform us of what he suffers.” For Smith, what made us moral beings was the imaginative capacity to “place ourselves in his situation . . . and become in some measure the same person with him, and thence form some idea of his sensations, and even feel something which, though weaker in degree, is not altogether unlike them.” In this sense, empathy is an instinctive mirroring of others’ experience— James Bond gets his testicles mashed in “Casino Royale,” and male moviegoers grimace and cross their legs. Smith talks of how “persons of delicate fibres” who notice a beggar’s sores and ulcers “are apt to feel an itching or uneasy sensation *Copyright © 2013 Conde Nast. From the New Yorker. All rights reserved. By Paul Bloom. Reprinted by permission. 9 10 Chapter 1 Summary, Paraphrase, and Quotation in the correspondent part of their own bodies.” There is now widespread support, in the social sciences, for what the psychologist C. Daniel Batson calls “the empathy-altruism hypothesis.” Batson has found that simply instructing his subjects to take another’s perspective made them more caring and more likely to help. 5 Empathy research is thriving these days, as cognitive neuroscience undergoes what some call an “affective revolution.” There is increasing focus on the emotions, especially those involved in moral thought and action. We’ve learned, for instance, that some of the same neural systems that are active when we are in pain become engaged when we observe the suffering of others. Other researchers are exploring how empathy emerges in chimpanzee and other primates, how it flowers in young children, and the sort of circumstances that trigger it. This interest isn’t just theoretical. If we can figure out how empathy works, we might be able to produce more of it. Some individuals stanch their empathy through the deliberate endorsement of political or religious ideologies that promote cruelty toward their adversaries, while others are deficient because of bad genes, abusive parenting, brutal experience, or the usual unhappy goulash of all of the above. At an extreme lie the 1 percent or so of people who are clinically described as psychopaths. A standard checklist for the condition includes “callousness; lack of empathy”; many other distinguishing psychopathic traits, like lack of guilt and pathological lying, surely stem from this fundamental deficit. Some blame the empathy-deficient for much of the suffering in the world. In The Science of Evil: On Empathy and the Origins of Cruelty (Basic Books), Simon BaronCohen goes so far as to equate evil with “empathy erosion.” In a thoughtful new book on bullying, Sticks and Stones (Random House), Emily Bazelon writes, “The scariest aspect of bullying is the utter lack of empathy”—a diagnosis that she applies not only to the bullies but also to those who do nothing to help the victims. Few of those involved in bullying, she cautions, will turn into full-blown psychopaths. Rather, the empathy gap is situational: bullies have come to see their victims as worthless; they have chosen to shut down their empathetic responses. But most will outgrow—and perhaps regret—their terrible behavior. “The key is to remember that almost everyone has the capacity for empathy and decency—and to tend that seed as best as we possibly can,” she maintains. Two other recent books, The Empathic Civilization (Penguin), by Jeremy Rifkin, and Humanity on a T ightrope (Rowman & Littlefield), by Paul R. Ehrlich and Robert E. Ornstein, make the powerful argument that empathy has been the main driver of human progress, and that we need more of it if our species is to survive. Ehrlich and Ornstein want us “to emotionally join a global family.” Rifkin calls for us to make the leap to “global empathic consciousness.” He sees this as the last best hope for saving the world from environmental destruction, and concludes with the plaintive question “Can we reach biosphere consciousness and global empathy in time to avoid planetary collapse?” These are sophisticated books, which provide extensive and accessible reviews of the scholarly literature on empathy. And, as befits the spirit of the times, they enthusiastically champion an increase in empathy as a cure for humanity’s ills. Demonstration: Summary This enthusiasm may be misplaced, however. Empathy has some unfortunate features—it is parochial, narrow-minded, and innumerate.1 We’re often at our best when we’re smart enough not to rely on it. In 1949, Kathy Fiscus, a three-year-old girl, fell into a well in San Marino, 10 California, and the entire nation was captivated by concern. Four decades later, America was transfixed by the plight of Jessica McClure—Baby Jessica—the eighteen-month-old who fell into a narrow well in Texas, in October 1987, triggering a fifty-eight-hour rescue operation. “Everybody in America became godmothers and godfathers of Jessica while this was going on,” President Reagan remarked. The immense power of empathy has been demonstrated again and again. It is why Americans were riveted by the fate of Natalee Holloway, the teen-ager who went missing in Aruba, in 2005. It’s why, in the wake of widely reported tragedies and disasters—the tsunami of 2004, Hurricane Katrina the year after, or Sandy last year—people gave time, money, and even blood. It’s why, last December [2012], when twenty children were murdered at Sandy Hook Elementary School, in Newtown, Connecticut, there was a widespread sense of grief, and an intense desire to help. Last month [April, 2013], of course, saw a similar outpouring of support for the victims of the Boston Marathon bombing. Why do people respond to these misfortunes and not to others? The psychologist Paul Slovic points out that, when Holloway disappeared, the story of her plight took up far more television time than the concurrent genocide in Darfur. Each day, more than ten times the number of people who died in Hurricane Katrina die because of preventable diseases, and more than thirteen times as many perish from malnutrition. There is, of course, the attention-getting power of new events. Just as we can come to ignore the hum of traffic, we become oblivious of problems that seem unrelenting, like the starvation of children in Africa—or homicide in the United States. In the past three decades, there were some sixty mass shootings, causing about five hundred deaths; that is, about one-tenth of 1 percent of the homicides in America. But mass murders get splashed onto television screens, newspaper headlines, and the Web; the biggest ones settle into our collective memory—Columbine, Virginia Tech, Aurora, Sandy Hook. The 99.9 percent of other homicides are, unless the victim is someone you’ve heard of, mere background noise. The key to engaging empathy is what has been called “the identifiable victim effect.” As the economist Thomas Schelling, writing forty-five years ago, mordantly observed, “Let a six-year-old girl with brown hair need thousands of dollars for an operation that will prolong her life until Christmas, and the post office will be swamped with nickels and dimes to save her. But let it be reported that without a sales tax the hospital facilities of Massachusetts will deteriorate 1 By innumerate Bloom means unable to think quantitatively, especially in terms of conceiving or appreciating large numbers. Used in this context, innumerate means unable to conceive of the great numbers of people who are or will become victims of natural or human-made disasters. 11 12 Chapter 1 Summary, Paraphrase, and Quotation and cause a barely perceptible increase in preventable deaths—not many will drop a tear or reach for their checkbooks.” You can see the effect in the lab. The psychologists Tehila Kogut and Ilana 15 Ritov asked some subjects how much money they would give to help develop a drug that would save the life of one child, and asked others how much they would give to save eight children. The answers were about the same. But when Kogut and Ritov told a third group a child’s name and age, and showed her picture, the donations shot up—now there were far more to the one than to the eight. The number of victims hardly matters—there is little psychological difference between hearing about the suffering of five thousand and that of five hundred thousand. Imagine reading that two thousand people just died in an earthquake in a remote country, and then discovering that the actual number of deaths was twenty thousand. Do you now feel ten times worse? To the extent that we can recognize the numbers as significant, it’s because of reason, not empathy. In the broader context of humanitarianism, as critics like Linda Polman have pointed out, the empathetic reflex can lead us astray. When the perpetrators of violence profit from aid—as in the “taxes” that warlords often demand from international relief agencies—they are actually given an incentive to commit further atrocities. It is similar to the practice of some parents in India who mutilate their children at birth in order to make them more effective beggars. The children’s debilities tug at our hearts, but a more dispassionate analysis of the situation is necessary if we are going to do anything meaningful to prevent them. A “politics of empathy” doesn’t provide much clarity in the public sphere, either. Typically, political disputes involve a disagreement over whom we should empathize with. Liberals argue for gun control, for example, by focusing on the victims of gun violence; conservatives point to the unarmed victims of crime, defenseless against the savagery of others. Liberals in favor of tightening federally enforced safety regulations invoke the employee struggling with work-related injuries; their conservative counterparts talk about the small businessman bankrupted by onerous requirements. So don’t suppose that if your ideological opponents could only ramp up their empathy they would think just like you. On many issues, empathy can pull us in the wrong direction. The outrage that comes from adopting the perspective of a victim can drive an appetite for retribution. (Think of those statutes named for dead children: Megan’s Law, Jessica’s Law, Caylee’s Law.) But the appetite for retribution is typically indifferent to long-term consequences. In one study, conducted by Jonathan Baron and Ilana Ritov, people were asked how best to punish a company for producing a vaccine that caused the death of a child. Some were told that a higher fine would make the company work harder to manufacture a safer product; others were told that a higher fine would discourage the company from making the vaccine, and since there were no acceptable alternatives on the market the punishment would lead to more deaths. Most people didn’t care; they wanted the company fined heavily, whatever the consequence. Demonstration: Summary 20 This dynamic regularly plays out in the realm of criminal justice. In 1987, Willie Horton, a convicted murderer who had been released on furlough from the Northeastern Correctional Center, in Massachusetts, raped a woman after beating and tying up her fiancé. The furlough program came to be seen as a humiliating mistake on the part of Governor Michael Dukakis, and was used against him by his opponents during his run for President, the following year. Yet the program may have reduced the likelihood of such incidents. In fact, a 1987 report found that the recidivism rate in Massachusetts dropped in the eleven years after the program was introduced, and that convicts who were furloughed before being released were less likely to go on to commit a crime than those who were not. The trouble is that you can’t point to individuals who weren’t raped, assaulted, or killed as a result of the program, just as you can’t point to a specific person whose life was spared because of vaccination. There’s a larger pattern here. Sensible policies often have benefits that are merely statistical, but victims have names and stories. Consider global warming—what Rifkin calls the “escalating entropy bill that now threatens catastrophic climate change and our very existence.” As it happens, the limits of empathy are especially stark here. Opponents of restrictions on CO2 emissions are flush with identifiable victims—all those who will be harmed by increased costs, by business closures. The millions of people who at some unspecified future date will suffer the consequences of our current inaction are, by contrast, pale statistical abstractions. The government’s failure to enact prudent long-term policies is often attributed to the incentive system of democratic politics (which favors short-term fixes), and to the powerful influence of money. But the politics of empathy is also to blame. Too often, our concern for specific individuals today means neglecting crises that will harm countless people in the future. Moral judgment entails more than putting oneself in another’s shoes. As the philosopher Jesse Prinz points out, some acts that we easily recognize as wrong, such as shoplifting or tax evasion, have no identifiable victim. And plenty of good deeds—disciplining a child for dangerous behavior, enforcing a fair and impartial procedure for determining who should get an organ transplant, despite the suffering of those low on the list—require us to put our empathy to one side. Eight deaths are worse than one, even if you know the name of the one; humanitarian aid can, if poorly targeted, be counterproductive; the threat posed by climate change warrants the sacrifices entailed by efforts to ameliorate it. “The decline of violence may owe something to an expansion of empathy,” the psychologist Steven Pinker has written, “but it also owes much to harder-boiled faculties like prudence, reason, fairness, self-control, norms and taboos, and conceptions of human rights.” A reasoned, even counter-empathetic analysis of moral obligation and likely consequences is a better guide to planning for the future than the gut wrench of empathy. Rifkin and others have argued, plausibly, that moral progress involves ­expanding our concern from the family and the tribe to humanity as a whole. 13 14 Chapter 1 Summary, Paraphrase, and Quotation Yet it is impossible to empathize with seven billion strangers, or to feel toward someone you’ve never met the degree of concern you feel for a child, a friend, or a lover. Our best hope for the future is not to get people to think of all humanity as family—that’s impossible. It lies, instead, in an appreciation of the fact that, even if we don’t empathize with distant strangers, their lives have the same value as the lives of those we love. That’s not a call for a world without empathy. A race of psychopaths 25 might well be smart enough to invent the principles of solidarity and fairness. (Research suggests that criminal psychopaths are adept at making moral judgments.) The problem with those who are devoid of empathy is that, although they may recognize what’s right, they have no motivation to act upon it. Some spark of fellow feeling is needed to convert intelligence into action. But a spark may be all that’s needed. Putting aside the extremes of psychopathy, there is no evidence to suggest that the less empathetic are morally worse than the rest of us. Simon Baron-Cohen observes that some people with autism and Asperger’s syndrome, though typically empathy-deficient, are highly moral, owing to a strong desire to follow rules and insure that they are applied fairly. Where empathy really does matter is in our personal relationships. Nobody wants to live like Thomas Gradgrind—Charles Dickens’s caricature utilitarian, who treats all interactions, including those with his children, in explicitly economic terms. Empathy is what makes us human; it’s what makes us both subjects and objects of moral concern. Empathy betrays us only when we take it as a moral guide. Newtown, in the wake of the Sandy Hook massacre, was inundated with so much charity that it became a burden. More than eight hundred volunteers were recruited to deal with the gifts that were sent to the city—all of which kept arriving despite earnest pleas from Newtown officials that charity be directed elsewhere. A vast warehouse was crammed with plush toys the townspeople had no use for; millions of dollars rolled in to this relatively affluent community. We felt their pain; we wanted to help. Meanwhile—just to begin a very long list—almost twenty million American children go to bed hungry each night, and the federal food-stamp program is facing budget cuts of almost 20 percent. Many of the same kindly strangers who paid for Baby Jessica’s medical needs support cuts to state Medicaid programs—cuts that will affect millions. Perhaps fifty million Americans will be stricken next year by foodborne illness, yet budget reductions mean that the FDA will be conducting two thousand fewer safety inspections. Even more invisibly, next year the average American will release about twenty metric tons of carbon dioxide into the atmosphere, and many in Congress seek to loosen restrictions on greenhouse gases even further. Such are the paradoxes of empathy. The power of this faculty has something to do with its ability to bring our moral concern into a laser pointer of focused attention. If a planet of billions is to survive, however, we’ll need to take into consideration the welfare of people not yet harmed—and, even more, of people not yet born. They have no names, ...
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Debate Outline
I. Paragraph One
i. Steve Jobs gave a speech on doing what you love to Stanford
University graduates on doing what you love, which provoked different
emotions.
ii. Jobs encouraged the students to pursue their passion rather than suffer.
iii. He uses his life experience as a reference indicating that dropping out
of college was the best decision that he ever made
iv. The topic of doing what you love has brought up different arguments
from people like Jeff Haden, Miya Tokumitsu, and Carl McCoy, who draw
attention to the major flaws of Job’s speech.
II. Paragraph Two
i. Haden believes that mastery of what you do plays a critical role in the
success of the job and not dreams or passion as Job indicated.
ii. McCoy indicates that people should move towards jobs that have a
purpose and pays decently.
iii. Tokumitsu thinks...


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Excellent resource! Really helped me get the gist of things.

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