Where can buy Mosaics: reading and writing paragraphs -- mylab writing with pearson etext access cod
Mosaics: Reading and Writing Paragraphs -- MyLab Writing with Pearson eText Access Code 8th Edition Flachmann
Visit to download the full and correct content document: https://textbookfull.com/product/mosaics-reading-and-writing-paragraphs-mylab-writin g-with-pearson-etext-access-code-8th-edition-flachmann/
More products digital (pdf, epub, mobi) instant download maybe you interests ...
LEAP 4 - Reading and Writing Book + eText + MyLab 2nd Edition Dr. Ken Beatty Julias Williams
PEARSON, ALWAYS LEARNING, and MYLAB READING AND WRITING SKILLS are exclusive trademarks owned by Pearson Education, Inc. or its affiliates, in the U.S., and/or other countries.
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
Names: Flachmann, Kim, author.
Title: Mosaics : reading and writing paragraphs / Kim Flachmann.
Description: Eighth edition. | Boston : Pearson, [2019] | Includes index.
Identifiers: LCCN 2018042076| ISBN 9780134996288 (student edition) | ISBN 0134996283 (student edition) | ISBN 9780135224076 (instructor’s edition) | ISBN 0135224071 (instructor’s edition)
Subjects: LCSH: English language—Paragraphs—Problems, exercises, etc. | English language—Rhetoric—Problems, exercises, etc.
Classification: LCC PE1439 .F58 2019 | DDC 808/.042—dc23 LC record available at https://lccn.loc.gov/2018042076
MyLab Access Code Card
ISBN-10: 0-13-525622-4
ISBN-13: 978-0-13-525622-0
Student Edition
ISBN-10: 0-13-499628-3
ISBN-13: 978-0-13-499628-8
Loose-leaf Edition
ISBN-10: 0-13-522471-3
ISBN-13: 978-0-13-522471-7 1 19
For Christopher
27 Pronoun Reference and Point of View 464
28 Pronoun Agreement 472
UNIT 5 MODIFIERS 479
29 Adjectives 480
30 Adverbs 490
31 Modifier Errors 502
UNIT 6 PUNCTUATION 508
32 End Punctuation 510
33 Commas 517
34 Apostrophes 530
35 Quotation Marks 539
36 Other Punctuation Marks 547
UNIT 7 MECHANICS 556
37 Capitalization 557
38 Abbreviations and Numbers 564
UNIT 8 EFFECTIVE SENTENCES 571
39 Varying Sentence Structure 572
40 Parallelism 579
41 Combining Sentences 585
UNIT 9 CHOOSING THE RIGHT WORD 596
42 Standard and Nonstandard English 597
43 Easily Confused Words 606
44 Spelling 617
APPENDIXES 629 INDEX 646
DETAILED CONTENTS
PART I Reading and Writing for Success in College 1
1 Reading and Writing as Critical Thinking 2
The Reading Process 3
Preparing to Read 4
Reading 5
First Rereading 5
Second Rereading 5
Reading as a Cycle 6
The Writing Process 6
Preparing to Write 8
Writing 8
Revising 8
Editing 8
Writing as a Cycle 9
Getting Ready to Read and Write 9
Keeping a Journal 11
2 Reading Critically 13
Preparing to Read 13
Title: The First Morning 13
Author: Edward Abbey 14
Focusing Your Attention 14
Reading 15
Expanding Your Vocabulary 15
Using a Reading Strategy 16
First Rereading 23
Second Rereading 24 3
to Write 26
27
31
34
a Topic Sentence 34
36
38
45 4
and Editing 47
47 Revising Your Topic Sentence 48 Revising Your Development 50 Revising for Unity 55 Revising Your Organization 57 Revising for Coherence 59 Editing 67
Your Errors 68 Correcting Your Errors 69
PART II Essays: Paragraphs in Context 75
5 How to Read an Essay 76 Scott Russell Sanders, “Fidelity” 77 Preparing to Read 79 Focusing Your Attention 79 Expanding Your Vocabulary 80
First Reading 80
Choosing a Reading Strategy 80
Discovering How the Essay Works 80
First Rereading 82
Second Rereading 83
6 How to
Write an Essay 85
Preparing to Write 86
Choosing a Topic 86
Planning 87
Writing a Thesis Statement 87
Writing 88
Revising and Editing 93
Revising and Editing the Student Essay 93
7 Writing Workshop 99
Writing an Essay 99
Revising Workshop 100
Editing Workshop 100
Reflecting on Your Writing 101
PART III Reading and Writing Effective Paragraphs 103
8 Describing 105
Preparing to Write a Description Paragraph 106
Reading a Description Paragraph 106
Joseph Bruchac, from “Notes of a Translator’s Son” 107
Discovering How This Paragraph Works 107
Writing a Description Paragraph 108
Reading the Prompt 108
Thinking About the Prompt 109
Guidelines for Writing a Description Paragraph 109
Mike Rose, from “Lives on the Boundary” 110
Writing a Draft of Your Paragraph 112
Revising and Editing 112
Reading a Student Paragraph 112
Revising and Editing the Student Paragraph 113
Reading Your Own Description Paragraph 116
Revising and Editing Your Own Paragraph 117
Practicing Description: From Reading to Writing 120
Reading Workshop 120
Amy Tan, “Magpies” 122
Jhumpa Lahiri, “My Two Lives” 126
Writing Workshop 129
9 Narrating 132
Preparing to Write a Narration Paragraph 133
Reading a Narration Paragraph 133
Bernard Bragg, from “Deaf in America: Voices of a Culture” 134
Discovering How This Paragraph Works 134
Writing a Narration Paragraph 135
Reading the Prompt 135
Thinking About the Prompt 136 Guidelines for Writing a Narration Paragraph 136
Russell Baker, from “Growing Up” 136
Writing a Draft of Your Paragraph 139
Revising and Editing 139
Reading a Student Paragraph 139
Revising and Editing the Student Paragraph 140
Reading Your Own Narration Paragraph 143
Revising and Editing Your Own Paragraph 144
Practicing Narration: From Reading to Writing 147
Reading Workshop 147
Sandra Cisneros, “Eleven” 149
Rudey Maliszewski, “My Grandma’s Rules for Happiness” 153
Writing Workshop 155
10 Illustrating 158
Preparing to Write an Illustration
Paragraph 159
Reading an Illustration Paragraph 159
Lynn Peters, from “A Century of Women” 160
Discovering How This Paragraph Works 160
Writing an Illustration
Paragraph 161
Reading the Prompt 161
Thinking About the Prompt 162
Guidelines for Writing an Illustration
Paragraph 162
NASA, from “Climate Change: How Do We Know?” 162
Writing a Draft of Your Paragraph 164
Revising and Editing 164
Reading a Student Paragraph 165
Revising and Editing the Student Paragraph 165
Reading Your Own Illustration
Paragraph 169
Revising and Editing Your Own Paragraph 169
Practicing Illustration: From Reading to Writing 173
Reading Workshop 173
Chang-Rae Lee, “Mute in an English-Only World” 174
Chris Lebron, “I’m Black. Does America Have a Plan for My Life?” 178
Writing Workshop 181
11 Analyzing a Process 184
Preparing to Write a Process Analysis
Paragraph 185
Reading a Process Analysis
Paragraph 185
Obasi Miracle, from “How to Schedule Your Facebook and Twitter Posts” 186
Discovering How This Paragraph Works 186
Writing a Process Analysis
Paragraph 187
Reading the Prompt 187
Thinking About the Prompt 188
Guidelines for Writing a Process Analysis
Paragraph 188
Mike Shanahan, from “Playing to Win: Do You Think Like a Champ?” 188
Writing a Draft of Your Paragraph 190
Revising and Editing 191
Reading a Student Paragraph 191
Revising and Editing the Student Paragraph 192
Reading Your Own Process Analysis
Paragraph 195
Revising and Editing Your Own Paragraph 195
Practicing Process Analysis: From Reading to Writing 199
Reading Workshop 199
Wynne Davis, “Fake or Real? How to Self-Check the News and Get the Facts” 200
Russell Freedman, “Coming Over” 204
Writing Workshop 207
12 Comparing and Contrasting 210
Preparing to Write a Comparison/Contrast
Paragraph 211
Reading a Comparison/Contrast
Paragraph 211
Deborah Tannen, from “You Just Don’t
Understand: Women and Men in Conversation” 212
Discovering How This Paragraph Works 212
Writing a Comparison/Contrast
Paragraph 213
Reading the Prompt 213
Thinking About the Prompt 214
Guidelines for Writing a Comparison/Contrast
Paragraph 214
Shannon Brownlee, from “Inside the Teen Brain: Behavior Can Be Baffling When Young Minds Are Taking Shape” 214
Writing a Draft of Your Paragraph 216
Revising and Editing 217
Reading a Student Paragraph 217
Revising and Editing the Student Paragraph 218
Reading Your Own Comparison/Contrast Paragraph 221
Revising and Editing Your Own Paragraph 222
Practicing Comparison/Contrast: From Reading to Writing 225
Reading Workshop 225
Ernesto Galarza, “The Barrio” 227
NASA, “Mars: A Time of Discovery” 231
Writing Workshop 234
13
Dividing and Classifying 237
Preparing to Write a Division/ Classification Paragraph 238
Reading a Division/Classification
Paragraph 238
Sarah Hodgson, from “Dog Perfect: The User-Friendly Guide to a Well-Behaved Dog” 239
Discovering How This Paragraph Works 239
Detailed Contents
Writing a Division/Classification
Paragraph 239
Reading the Prompt 240
Thinking About the Prompt 240
Guidelines for Writing a Division/Classification Paragraph 241
Debra Phillips, from “Tween Beat” 241
Writing a Draft of Your Paragraph 243
Revising and Editing 243
Reading a Student Paragraph 243
Revising and Editing the Student Paragraph 244
Reading Your Own Division/Classification Paragraph 247
Revising and Editing Your Own Paragraph 248
Practicing Division/Classification: From
Reading to Writing 251
Reading Workshop 251
Camille Lavington, “Rapport: How to Ignite It” 253
National Institute on Aging, “Know Your Food Groups” 258
Writing Workshop 261
14
Defining 264
Preparing to Write a Definition
Paragraph 265
Reading a Definition Paragraph 265
Azure Microsoft, from “Uses of Cloud Computing” 265
Discovering How This Paragraph Works 266
Writing a Definition Paragraph 267
Reading the Prompt 267
Thinking About the Prompt 267
Guidelines for Writing a Definition Paragraph 268
Mary Pipher, from “Beliefs About Families” 268
Writing a Draft of Your Paragraph 270
Revising and Editing 271
Reading a Student Paragraph 271
Revising and Editing the Student Paragraph 271
Reading Your Own Definition
Paragraph 275
Revising and Editing Your Own Paragraph 275
Practicing Definition: From Reading to Writing 279
Reading Workshop 279
Matt Simon, “The Genesis of Kuri, the Friendly Home Robot” 280
Jo Goodwin Parker, “What Is Poverty?” 283
Writing Workshop 287
15 Analyzing Causes and Effects 290
Preparing to Write a Cause/Effect Paragraph 291
Reading a Cause/Effect Paragraph 291
Robert Hine, from “Second Sight” 292
Discovering How This Paragraph Works 292
Writing a Cause/Effect Paragraph 293
Reading the Prompt 293
Thinking About the Prompt 294
Guidelines for Writing a Cause/Effect
Paragraph 294
Russell Freedman, from “Immigrant Kids” 294
Writing a Draft of Your Paragraph 296
Revising and Editing 297
Reading a Student Paragraph 297
Revising and Editing the Student Paragraph 298
Reading Your Own Cause/Effect
Paragraph 301
Revising and Editing Your Own
Paragraph 302
Practicing Cause/Effect: From Reading to Writing 305
Reading Workshop 305
Ian Robertson, “Embrace Boredom to Become More Creative” 306
Arthur Brooks, “Fear Can Make You a Better Person” 310
Writing Workshop 312
16 Arguing 315
Preparing to Write an Argument Paragraph 316
Reading an Argument Paragraph 316
Marie Winn, from “The Plug-In Drug” 316
Discovering How This Paragraph Works 317
Writing an Argument Paragraph 318
Reading the Prompt 318
Thinking About the Prompt 319 Guidelines for Writing an Argument Paragraph 319
Karen Goldberg Goff, from “Social Networking Benefits Validated” 319
Writing a Draft of Your Paragraph 322
Revising and Editing 322
Reading a Student Paragraph 323
Revising and Editing the Student Paragraph 323
Reading Your Own Argument Paragraph 327
Revising and Editing Your Own Paragraph 327
Practicing Argument: From Reading to Writing 330
Reading Workshop 331
Ian Kysel, “End Solitary Confinement for Teenagers” 332
Sherry Turkle, “The Flight from Conversation” 336
Zeynep Tufekci, “Social Media’s Small, Positive Role in Human Relationships” 339
Writing Workshop 344
PREFACE
Students have the best chance of succeeding in college if they learn how to analyze ideas and think critically about issues in many different subject areas. Mosaics: Reading and Writing Paragraphs is the second in a series of three books that teach the basic skills essential to all good academic writing. This series illustrates how the companion skills of reading and writing are parts of a larger, interrelated process that moves back and forth through the tasks of prereading and reading, prewriting and writing, and revising and editing. In other words, this series demonstrates how these skills are integrated at every stage of the communication process in an attempt to help students discover the “mosaics” of their own reading and writing processes.
OVERALL GOAL
Ultimately, each book in the Mosaics series portrays writing as a way of thinking and processing information. One by one, these books encourage students to discover how the “mosaics” of their own reading and writing processes work together to form a coherent whole. By demonstrating the interrelationship among thinking, reading, and writing at progressively more difficult levels, these books will help prepare students for success in college throughout the curriculum and in their lives after graduation.
THE MOSAICS SERIES
Each of the three books of the Mosaics series has a different emphasis: Reading and Writing Sentences provides instruction and practice in grammar and usage conventions; Reading and Writing Paragraphs highlights the development of paragraphs; and Reading and Writing Essays focuses on the composition of complete essays. As they move from personal to more academic writing, the Paragraph and Essay books become gradually more sophisticated in the length and level of their reading selections, the complexity of their writing assignments, the degree of difficulty of their revising and editing strategies, and the content and structure of their student writing samples.
This entire three-book series is based on the following fundamental assumptions:
• Students must think critically or analytically to succeed in college.
• Students build confidence in their ability to read and write by reading and writing.
• Students learn best from discovery and experimentation rather than from instruction and abstract discussions.
• Students profit from studying both published and student writing.
• Students need to discover their personal reading and writing processes.
• Students learn both individually and collaboratively.
• Students benefit most from assignments that integrate reading and writing.
• Students learn how to revise by following clear guidelines.
• Students learn grammar and usage rules by editing their own writing.
• Students must be able to transfer their writing skills to all their college courses.
NEW TO THIS EDITION
• A More Intuitive Organization: The section that teaches students how to write effective essays (Essays: Paragraphs in Context) now precedes the instruction on paragraphs (Reading and Writing Effective Paragraphs) so that students have a stronger understanding of what constitutes an essay before they begin their work on paragraphs.
• New Readings: Ten new, stimulating reading selections offer fresh perspectives on contemporary themes.
• Enhanced Guidance in Writing Paragraphs: In Part III, sample paragraphs are now embedded within the guidelines for writing paragraphs in the different rhetorical modes. In this way, we can point out each guideline in the example before the students attempt to apply it to their own writing. So students learn how to build their own paragraphs by seeing how the guidelines work in the sample paragraphs.
• New Design: An inviting new design supports the pedagogy by connecting related instructional material and drawing attention to key takeaways.
UNIQUE FEATURES OF THIS BOOK
Several other unique and exciting features define this book: It teaches and demonstrates the reading–writing connection:
• It integrates reading and writing throughout the text.
• It teaches and demonstrates reading as a process.
• It illustrates all aspects of the writing process through student writing.
• It uses both student and published paragraphs as models.
• It features culturally diverse, high-interest reading selections.
• It moves students systematically from personal to academic writing.
• It develops a student essay from assignment to completed paper.
• It includes a complete, color-coded handbook with exercises.
• It offers worksheets for peer and self-evaluation.
This book teaches a different reading strategy in every chapter of Part III:
• Description
• Narration
• Illustration
• Process Analysis
• Comparison/Contrast
• Division/Classification
• Definition
• Cause/Effect
• Argument
Making Personal Associations
Thinking Aloud
Chunking
Graphing the Ideas
Peer Teaching
Summarizing
Reacting Critically
Making Connections
Recognizing Facts and Opinions
Reading with the Author/Against the Author
These strategies are applied to all aspects of the writing process: reading/getting ready to write, reading the prompt, reading another student’s paragraph, and reading one’s own paragraphs.
The innovative lessons of MyLab Writing (www.pearson.com/mylab/writing) are strategically integrated into the content of every chapter:
• The instruction in each chapter is supplemented by useful suggestions for integrating MyLab Writing into class and/or individual work.
• MyLab Writing hints appear at strategic points within a given chapter for prewriting, writing, and revising/editing, thereby enabling students to truly benefit from the use of this dynamic online product.
• Each chapter of the Annotated Instructor’s Edition includes directions for integrating MyLab Writing into a course.
• An informative section with further information on using MyLab Writing with Mosaics: Reading and Writing Paragraphs is included in the Instructor’s Resource Manual.
HOW THIS BOOK WORKS
Mosaics: Reading and Writing Paragraphs teaches students how to read and write critically. For flexibility and easy reference, this book is divided into four parts:
Part I: Reading and Writing for Success in College
All four chapters in Part I demonstrate the cyclical nature of the reading and writing processes. They begin with the logistics of getting ready to read and write and then
move systematically through the interlocking stages of the processes by following a student from prereading to rereading and then from prewriting to revising and editing. Part I ends with four review practices that summarize the material and let your students practice what they have learned.
Part II: Essays: Paragraphs in Context
The next section of this text demonstrates how paragraphs fit into the broader context of an essay. It systematically illustrates the relationship between a paragraph and an essay and then explains the structure of an essay through both published and student examples. Part II ends with a series of writing assignments and workshops designed to encourage students to write, revise, and edit an essay and then reflect on their own writing process.
Part III: Reading and Writing Effective Paragraphs
Part III, the heart of the instruction in this text, teaches students how to read and write paragraphs by introducing the rhetorical modes as patterns of thinking and development. It moves from personal writing to more academic types of writing: describing, narrating, illustrating, analyzing a process, comparing and contrasting, dividing and classifying, defining, analyzing causes and effects, and arguing. Within each chapter, students learn how to read a published paragraph critically, write their own paragraphs, and revise and edit another student’s paragraph as well as their own. Finally, two published writing samples are included in each rhetorical mode chapter so students can actually see the features of each strategy at work in different pieces of writing. Each published essay is preceded by prereading activities and then followed by 10 questions that move students from a literal to an analytical understanding as they consider the essay’s content, purpose, audience, and paragraph structure.
Part IV: The Handbook
Part IV is a complete grammar/usage handbook, including exercises, that covers nine units: The Basics, Sentences, Verbs, Pronouns, Modifiers, Punctuation, Mechanics, Effective Sentences, and Choosing the Right Word. These categories are coordinated with the Editing Checklist that appears periodically throughout this text. Each chapter starts with five self-test questions so students can determine their strengths and weaknesses with specific skills. The chapters provide at least three types of practice after each grammar concept, moving students systematically from identifying grammar concepts to filling in the blanks to writing their own sentences. Each chapter ends with a practical editing workshop that asks students to use the skills they just learned as they work with another student to edit their own writing. Pre- and Post-Unit Tests—including practice with single sentences and paragraphs—are offered for each unit in the accompanying Instructor’s Resource Manual.
APPENDIXES
The appendixes will help students keep track of their progress in the various skills they are learning in this text. References to these appendixes are interspersed
throughout the book so students know when to use them as they study the concepts in each chapter:
• Appendix 1: Critical Thinking Log
• Appendix 2A: Your EQ (Editing Quotient)
• Appendix 2B: Editing Quotient Answers
• Appendix 2C: Editing Quotient Error Chart
• Appendix 3: Test Yourself Answers
• Appendix 4: Revising a Paragraph
Peer Evaluation Form A
Peer Evaluation Form B
• Appendix 5: Revising an Essay
• Appendix 6: Editing an Essay
• Appendix 7: Error Log
• Appendix 8: Spelling Log
ACKNOWLEDGMENTS
I want to acknowledge the support, encouragement, and sound advice of several people who have helped me through the development of the Mosaics series. First, Pearson Higher Education has provided guidance and inspiration for this project through the enduring wisdom of Matt Wright, Craig Campanella, and Maggie Barbieri, previous editors of developmental English at Pearson and Prentice Hall; the thoughtful leadership of Chris Hoag, vice president and executive portfolio manager of developmental English, Karon Bowers, director and courseware portfolio manager, and Matt Summers, portfolio manager; the special inspiration of Mike Coons and Erin Rush, marketing managers; and the insight and vision of Marta Tomins and Harriett Prentiss, past development editors. I also greatly appreciate the wisdom provided by Ohlinger Studios through the creative guidance of Joanne Dauksewicz, managing editor; the exceptional work of Cat Thomson, content developer; the diligence and patience of Brooks Hill-Whilton, permissions editor; and the excellent oversight of Emsal Hasan, program manager. Finally, I am grateful for the expertise of Kelly Ricci, production manager at Aptara. Also, this book would not be a reality without the insightful persistence of Phil Miller, former publisher at Pearson.
I want to give very special thanks to Keith Kirouac, Tiffany Wong, Barry Ramirez, Shelby Pinkham, and Kasey Lewis for their outstanding work on this edition. I also want to thank Cody Ganger, Sabrina Buie, Tracie Grimes, Veronica Wilson, Laura Harris, Joanie Sahagun, Laraine Rosema, Carlos Tkacz, Julie Paulsen, Kevin Goodwin, Kristen Mercer, Robyn Thompson, and Marlin Morales, my advisors and sources of endless ideas and solutions to problems. I am also grateful to Lauren Nicholson (formerly Lauren Martinez) and Cheryl Smith for their inspiration and commitment on previous editions and to Cody Ganger, Isaac Sanchez, Lauren Nicholson, Rebecca Penrose (formerly Rebecca Hewett), Valerie Turner, and Li’i Pearl for their discipline and hard work—past and present—on the Instructor’s Resource Manuals for each of the books in the series.
Two more groups of consultants and assistants were inspirational in the development of this particular edition: First, I want to thank Brooke Hughes, Randi Brummett, and Isaac Sanchez for their invaluable expertise and vision in crafting and placing the instructional inserts for MyLab Writing. Also, I want to express my gratitude to my students, from whom I have learned so much about the writing process, about teaching, and about life itself. Thanks especially to the students who contributed paragraphs and essays to this series: Josh Ellis, Jolene Christie, Mary Minor, Michael Tiede, Juliana Schweiger, Chris Dison, and Keith Kirouac.
In addition, I am especially indebted to the following reviewers who have guided me through the development and multiple revisions of this book: Geoffrey Aguirre, Long Beach City College; Micki Archuleta, Modesto Junior College; Barbara Brown, Olive-Harvey College; Susan Buchler, Montgomery County Community College; Neeta Chandra, Cuyahoga Community College; Aide Escamilla, Southwest Texas Junior College; Keith Haynes, Yavapai College; Christopher Lettera, Eastern Gateway Community College; Tracie Justus, Georgia State UniversityPerimeter College; Donna Raptakis, Community College of Rhode Island; Shirley Williams, Jackson State University; Lisa Berman, Miami-Dade Community College; Patrick Haas, Glendale Community College; Jeanne Campanelli, American River College; Dianne Gregory, Cape Cod Community College; Clara WilsonCook, Southern University at New Orleans; Thomas Beery, Lima Technical College; Jean Petrolle, Columbia College; David Cratty, Cuyahoga Community College; Allison Travis, Butte State College; Suellen Meyer, Meramec Community College; Jill Lahnstein, Cape Fear Community College; Stanley Coberly, West Virginia State University at Parkersville; Jamie Moore, Scottsdale Community College; Nancy Hellner, Mesa Community College; Ruth Hatcher, Washtenaw Community College; Thurmond Whatley, Aiken Technical College; W. David Hall, Columbus State Community College; Marilyn Coffee, Fort Hays State University; Teriann Gaston, University of Texas at Arlington; Peggy Karsten, Ridgewater College; Nancy Hayward, Indiana University of Pennsylvania; Carol Ann Britt, San Antonio College; Maria C. Villar-Smith, Miami-Dade Community College; Jami L. Huntsinger, University of New Mexico at Valencia Campus; P. Berniece Longmore, Essex County College; Lee Herrick, Fresno City College; Elaine Chakonas, Northeastern Illinois University; Roy Warner, Montana State University; Chris Morelock, Walters State Community College; Carmen Wong, John Tyler Community College; Angela Bartlett, Chaffey College; Sharisse Turner, Tallahassee Community College; Billy Jones, Miami-Dade College; Chrishawn Speller, Seminole Community College; Albert Hernandez, SW Texas College; Greg Zobel, College of the Redwoods; Ben Worth, KCTCS-Bluegrass Community College; Aaron DiFranco, Napa Valley College; Jacinth Thomas, Sacramento City College; Liz Ann Aguilar, San Antonio College; James McCormick, Rochester Community & Technical College; Jessica Carroll, Miami-Dade College; Gloria Browning, Bluegrass Community and Technical College; Lisa Buchanan, Northeast State Community College; Eric R. Fish, Northeast State Community College; Althea Hunsucker, Richmond Community College; Dawn Cable, West Virginia Northern Community College; Vito Gulla, Delaware County Community College; James Scannell McCormick, Augsburg College; Sobia Saleem, Ohlone College; and Dianne Zoccola, Delaware County Community College.
Finally, I owe a tremendous personal debt to the people who have lived with this project over several editions; they are my closest companions and my best advisers: Michael, Christopher, Laura, Abby, and Ray.
Kim Flachmann
THE TEACHING AND LEARNING PACKAGE Writing
Reach every student by pairing this text with MyLab Writing MyLab™ is the teaching and learning platform that empowers you to reach every student. By combining trusted content with digital tools and a flexible platform, MyLab personalizes the learning experience and improves results for each student. When students enter your developmental writing course with varying skill levels, MyLab can help you identify which students need extra support and provide them targeted practice and instruction outside of class. Learn more at www.pearson .com/mylab/writing.
• Deliver trusted content: You deserve teaching materials that meet your own high standards for your course. That’s why we partner with highly respected authors to develop interactive content and course-specific resources that you can trust—and that keep your students engaged.
• Empower each learner: Each student learns at a different pace. Personalized learning pinpoints the precise areas where each student needs practice, giving all students the support they need—when and where they need it—to be successful.
• MyLab Writing diagnoses students’ strengths and weaknesses through a pre-assessment known as the Path Builder and offers a personalized Learning Path. Students then receive targeted practice and multimodal activities to help them improve over time.
• Teach your course your way: Your course is unique. So whether you’d like to build your own assignments, teach multiple sections, or set prerequisites, MyLab gives you the flexibility to easily create your course to fit your needs.
• Improve student results: When you teach with MyLab, student performance often improves. That’s why instructors have chosen MyLab for over 15 years, touching the lives of over 50 million students.
• Integrated into Writing Assignments, The Writer’s Guide section of Pearson Writer gives students a powerful reference guide to grammar, writing, and research without their having to leave their composing space.
Book-Specific Ancillary Material
Annotated Instructor’s Edition for Mosaics: Reading and Writing Paragraphs, Eighth Edition
ISBN 0-13-522407-1 / 978-0-13-522407-6
The AIE offers in-text answers, marginal annotations for teaching each chapter, links to the Instructor’s Resource Manual , and MyLab Writing teaching tips. It is a valuable resource for experienced and first-time instructors alike.
Instructor’s Resource Manual for Mosaics: Reading and Writing Paragraphs, Eighth Edition
ISBN 0-13-522409-8 / 978-0-13-522409-0
The material in the IRM is designed to save you time and provide you with effective options for teaching your writing classes. It offers suggestions for setting up your courses; provides lots of extra practice for students who need it; offers quizzes and grammar tests, including unit tests; furnishes grading rubrics for each rhetorical mode; and supplies answers in case you want to print them out and have students grade their own work. This valuable resource is exceptionally useful for adjuncts who might need advice in setting up their initial classes or who might be teaching a variety of writing classes with too many students and not enough time.
PowerPoint Presentations for Mosaics: Reading and Writing Paragraphs, Eighth Edition
ISBN 0-13-522470-5 / 978-0-13-522470-0
PowerPoint presentations to accompany each chapter consist of classroomready lecture outline slides, lecture tips and classroom activities, and review questions. Available for download from the Instructor Resource Center.
Answer Key for Mosaics: Reading and Writing Paragraphs, Eighth Edition
ISBN 0-13-522472-1 / 978-0-13-522472-4
The Answer Key contains the gathered collection of Instructor’s Annotated Edition solutions to the exercises in the student edition of the text. Available for download from the Instructor Resource Center.
Loose-Leaf version of Mosaics: Reading and Writing Paragraphs, Eighth Edition
ISBN 0-13-522471-3 / 978-0-13-522471-7
The Loose-Leaf version is a three-hole-punched version of the regular student text at a reduced cost.
Pearson is pleased to offer a variety of support materials to help make teaching writing easier for you and to help students excel in their coursework. Many of our student supplements are available free or at a greatly reduced price when packaged with Mosaics: Reading and Writing Paragraphs. Visit www.pearson.com, contact your local Pearson sales representative, or review a detailed listing of the full supplements package in the Instructor’s Resource Manual for more information.
This page intentionally left blank
IReading and Writing for Success in College
“Reading furnishes our minds only with materials and knowledge. It is thinking that makes what we read ours.”
—John Locke
Part I of Mosaics is designed to build your confidence as a reader and a writer. In these four chapters, you will discover more about both the reading and writing processes so that you can understand and take control of your unique way of dealing with these skills. As you mold the reading and writing tasks into a series of activities that fit your particular learning style, you will become more aware of your own strengths and weaknesses in communication. You can then use this information to establish your identity in the community of readers and writers in all your college courses.
Reading and Writing as Critical Thinking
Critical thinking is the highest form of mental activity that we undertake and a major source of success in college and in life. Thinking critically involves grappling with the ideas, issues, and problems in your immediate environment and in the larger world. It means constantly questioning and analyzing different aspects of life. You can actually learn how to think critically through your reading and writing. But since critical thinking is complex, it requires a great deal of concentration and practice. Once you have a sense of how your mind works at this level, you will be able to think critically whenever you choose.
This book focuses on how to read and write paragraphs by introducing the rhetorical modes as patterns of thought or ways of reasoning. It moves from personal writing to more academic types of writing in the following order: describing, narrating, illustrating, analyzing a process, comparing and contrasting, dividing and classifying, defining, analyzing causes and effects, and arguing. Each type of paragraph we study has a dominant pattern of thought or development that is supported by other types of reasoning.
With some guidance, learning how to read and write according to different rhetorical modes or ways of thinking (such as describing, narrating, or dividing and classifying) can give you the mental workout you need to think critically in much the same way that physical exercise warms you up for various sports. As you move through the chapters in Part III of this text, you will be asked to isolate each rhetorical mode—just as you isolate your abs, thighs, and biceps in a physical workout. Each rhetorical mode offers a slightly different way of observing your surroundings, processing information, and solving problems. So each is really a distinct way of thinking and making sense of the world. Focusing on one rhetorical mode
at a time lets you systematically improve your ability to think, read, and write critically with the intention of letting these skills accumulate as you move through this book.
THE READING PROCESS
The reading process consists of “steps” or “stages” that overlap. But reading, unlike writing, has to occur in a certain order, or you will not be able to understand your material. To get the most out of the process, you should start at the beginning and read to the end. What you do during the process, however, is what can raise your level of understanding to the analytical or critical level, which is where you want to be to succeed in college and in life after college.
Reading actively (rather than passively) will make you a critical reader. Once you read critically, your writing will rise to a higher level as well. Passive readers open a reading assignment, start at the first page, and read to the end without doing any recognizable activities as they read. Active readers are physically working with their reading material from beginning to end—highlighting it, writing on it, and looping back and forth to reread passages they don’t understand in the first reading. They are making it
PREPARING TO READ
Title
Author Focused Questions
READING
Vocabulary
Reading Strate gy
Purpose
FIRST REREADING
Essay’s Assumptions
Relationships between Ideas
SECOND REREADING Questions Opinions Analysis
PART I Reading and Writing for Success in College
their own, trying to understand it on a more sophisticated level, and constantly reacting to it as they read. Identifying your own opinions and thoughts in response to your reading material is one of the essential parts of the reading process.
As you work with this process in this textbook, the graphic on page 3 might help you understand how various stages of the process can overlap.
PRACTICE
1 Answer the following questions.
1. List the three elements of prereading.
2. List the three elements of reading.
3. List the two elements of the first rereading.
4. List the three elements of the second rereading.
Student Comment:
“At first I didn’t want to do extra work online, but this topic was really helpful because it told me what questions to ask as I read.”
My Lab Writing
Critical Thinking: Texts and Visuals
To make sure you understand how to think critically about your reading, go to MyLabWriting.com, and choose Critical Thinking: Texts/ Visuals in the Research module. From there, read the Overview, watch the Animation video, and complete the Recall, Apply , and Write activities. Then check your understanding by taking the Post-test.
Preparing to Read
Preparing to read, or prereading, refers to activities that help you preview your reading material and its general subject so that you can read as efficiently as possible. It includes surveying your assignment and focusing on the task ahead of you. Your mission at this stage is to stimulate your thinking before and during the act of reading.
The most important tasks at this point include looking closely at the title to see if it reveals any clues about the author and his or her attitude toward the subject of the reading selection, finding out as much as you can about the author (background, profession, biases, etc.), and responding in
this textbook to some preliminary questions that will focus your attention before you read. All these activities will be demonstrated in Chapter 2 as Travis Morehouse, a freshman, approaches a reading assignment.
Reading
Once you have previewed your reading material, you can start reading it. As you read, you should mark or look up words you don’t understand and annotate your reading material as you move through it. Writing directly on the material itself will keep you engaged in the process. You should also try to figure out the author’s primary purpose for writing the selection.
Every chapter in Part III of this book will focus on a different reading strategy. These strategies can be applied to any reading material and are especially useful in helping you become an active reader. Once you learn different strategies that will improve your reading comprehension, you can choose your favorites to use in other courses.
First Rereading
Most students don’t want to read their assignments more than once, but the second and third readings are the ones that teach you how to read critically. Only after the first rereading can you hope to understand your reading material more completely. This second reading allows you to get to the assumptions that lie behind the words on the page, identify any confusion you might have, and see relationships between ideas that you didn’t notice in the first reading.
With this reading, you are closer to critical reading, but you are not there yet. This reading helps you dig more deeply into what the author is saying and prepares you to go one step further when you read an essay for the third time. Once again, the mechanics of this reading will be demonstrated by Travis Morehouse in Chapter 2 as he records his reactions to the reading material.
Second Rereading
Now read the material one more time slowly and carefully to locate any remaining confusion, discover your opinions, and analyze the author’s argument. This analytical or critical reading is the highest level of comprehension and should be your goal with each essay that you approach in this book. To achieve this level of understanding, you must actually wrestle with the subject matter—ask questions, make associations of your own, and draw conclusions that capture your personal reaction to the reading material. This reading requires the most energy on your part because you have to produce the questions and argue with the essay as it moves from point to point. Although this second rereading takes the most energy, it is also the
Writing for Success in College
most rewarding because your mind gets to exercise and grapple with ideas on a level that helps you understand both your reading and writing assignments more completely. Ultimately, this level of reading will raise your grades in all subjects.
Reading as a Cycle
Once you start reading and understand where you are headed, you can loop in and out of these “stages” in any order—just as you do in writing. You may look up a word in the first paragraph, argue with an idea in paragraph 3, and reread another paragraph a second time—all in the first few minutes of an essay. Although you may never approach any two reading projects in the same way, the chapters in Part I will help you discover your personal reading process and guide you toward a comfortable ritual for yourself as a reader.
PRACTICE 2 Answer the following questions.
1. When does the reading process start?
2. Explain “preparing to read” or “prereading” in your own words.
3. Describe your reading environment.
4. What does “reading” consist of?
5. What does rereading accomplish?
THE WRITING PROCESS
The writing process begins the minute you get a writing assignment— whether you are writing a book, an essay, or a single paragraph. It involves all the activities you do, from choosing a topic to turning in a final draft.
During this time, you will be thinking about your topic on both a subconscious and conscious level. Whether you are washing your car, reading in the library, working out, or writing a draft of your paper, you are going through your writing process. The main parts of the process are pictured here and then explained one by one. This design shows how the stages of the writing process can overlap.
REVISING Topic Sentence Development Unity Organization Coherence
PREPARING TO WRITE
Thinking Planning
WRITING
Writing a Topic Sentence Developing Organizing Drafting
PRACTICE 3 Answer the following questions.
1. List the two elements of preparing to write.
2. List the four elements of writing.
3. List the five elements of revising.
4. List the three elements of editing.
EDITING Sentences Punctuation and Mechanics Word Choice and Spelling
8 PART I Reading and Writing for Success in College
Student Comment:
“The Writing Process was the best topic in MyLab Writing because it gave me an outline of how to get started and where to go next when writing a paper.”
My Lab Writing
Understanding the Writing Process
Before you go any further in this chapter, go to MyLabWriting.com, and click on The Writing Process in The Craft of Writing module. For this topic, read the Overview, watch the two Animation videos, and complete the Recall, Apply, and Write activities. Then check your understanding by taking the Post-test.
Preparing to Write
Prewriting refers to all activities that help you explore a subject, generate ideas about it, settle on a specific topic, establish a purpose, and understand the audience for your essay. In Chapter 3, you will learn different strategies for accomplishing these goals before you actually begin to write a draft of your paragraph or essay. Your mission at this stage is to stimulate your thinking before and during the act of writing. Every time you think of a new idea during the writing process, you are prewriting.
Writing
When you have lots of ideas to work with, you are ready to start writing. This “stage” of the process involves writing a topic sentence, developing or expanding your ideas, organizing your thoughts to accomplish your purpose, and writing a first draft. To begin your draft, you may want to spread out your class notes, your journal entries, or various other prewriting activities so you can start to put your ideas together into coherent sentences. This is the time to keep your thoughts flowing without worrying about grammar, punctuation, mechanics, or spelling.
Revising
As you may already suspect, the process of writing is not finished with your first draft. You should always revise your work to make it stronger and better. Revising involves rethinking your content and organization so that your writing says exactly what you want it to. (Editing, the last step, focuses on correcting grammar and spelling.) Your main goal in revising is to make sure that the purpose of your essay is clear to your audience and that your main ideas are supported with details and examples. In addition, you should check that your organization is logical.
Editing
The final step in the writing process is editing. In this stage, you should read your paragraph or essay slowly and carefully to make sure no errors in
Another random document with no related content on Scribd:
in tetanus, 549
Corrosive poisoning from alcohol, 596
Counter-irritation, use of, in acute simple meningitis, 721 spinal meningitis, 752 in cerebral meningeal hemorrhage, 715 in chronic cerebral meningitis, 722
spinal meningitis, 753 in concussion of the spine, 916 in external pachymeningitis, 706 in infantile spinal paralysis, 1155 in hæmatoma of dura mater, 710 in neuralgia, 1227 in neuritis,
in sciatica, 1262 in symmetrical gangrene, 1236 in tubercular meningitis, 736
Coup de soleil, 388
Course of diseases of cervical sympathetic, 1265
of ecstasy, 343 of family form of tabes dorsalis, 871 of general paralysis of the insane,
178 of hysteria, 258 of hystero-epilepsy,
307 of infantile spinal paralysis, 1148 of insanity, 120
of myxœdema, 1272
of simple acute meningitis, 718 of symmetrical gangrene, 1201 of the opium habit, 657 of vaso-motor neuroses, 1254 of writers' cramp, 521
Cramp, writers',
504
Cranial conformation, vices of, as a cause of epilepsy,
470
Cranio-cerebral topography, in localization of nervous lesions,
93
Cranium, changes in, in chronic alcoholism,
617 in chronic hydrocephalus, 742 , 743
Cretinism, 138
Crises clitoridienne, 836
Crises in tabes dorsalis, 835 , 836
Croton chloral, use, in epileptiform facial neuralgia, 1234 in migraine, 415
Croton oil, use of, in cerebral hemorrhage and apoplexy, 976
Cry of tubercular meningitis, 726 , 727
Curare, use of, in tetanus, 556 in tremors of spinal sclerosis, 905
Cutaneous sensibility, disorders of, in epilepsy,
, 480
Cyanotic stage of symmetrical gangrene, 1258
mode of, in delirium tremens,
630
Defecation, hysterical disorders of,
240
Definition of alcoholism, 573 of amyotrophic lateral spinal sclerosis, 867 of apoplexy, 917 , 918 of athetosis,
of atrophy of the brain, 993 of catalepsy,
of chorea, 440 of chronic hydrocephalus,
eclampsia,
of ecstasy, 339 of epilepsy, 467 of hæmatoma of the dura mater, 707 of hysteria, 205 of hystero-epilepsy, 288 of infantile spinal paralysis, 1113 of insanity, 99
of labio-glosso-laryngeal paralysis, 1169 of neural disorders of writers and artisans, 504 of neuralgia, 1211 of progressive unilateral facial atrophy, 693 of spina bifida, 757 of stigmatization, 348 of symmetrical gangrene,
of tetanus, 544 of trance, 344 of tremor, 429 of tubercular meningitis, 723 of tumors of the brain, 1028 spinal cord, 1090
of unilateral spinal paralysis, 1166 of vaso-motor and trophic neuroses, 1241 of vertigo, 416
Deformities, in tabes dorsalis, 871 in infantile spinal paralysis, 1127-1131
Degenerative changes in atrophy, 1266-1277
Deglutition, difficult, in amyotrophic lateral sclerosis, 868 in Bell's palsy, 1204 in cerebral hemorrhage and apoplexy, 935 in labio-glosso-laryngeal paralysis, 1170
Delirium, acute, 163 chronic, in alcoholic insanity, 632
in acute simple meningitis,
718 in alcoholism, 626 in chronic lead-poisoning, 688 , 689 in nervous disease, 124 of cerebral anæmia, 785 tremens, 627
Delusional insanity, secondary,
Delusions, character of, in insanity, 168 in general paralysis of the insane,
in katatonia, 166 varieties of, in nervous diseases, 22 with melancholia,
156 , 157
Dementia, in alcoholism, 633 of general paralysis of the insane, 187 paretic, in inflammation of the brain, 791
