Course Materials Locker
- Page ID
- 325646
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- English 101-97: City Colleges of Chicago Course Materials
- Front Matter
- 1: Introduction to Rhetorical Analysis by Lani Montreal
- 2: Creative Project by Lani Montreal
- 3: Introduction to Critical Reading by Angelica Davila
- 4: Introduction to Summarizing by Angelica Davila
- 5: Introduction to Genres by Angelica Davila
- 6: Introduction to Claims by Angelica Davila
- 7: Introduction to Rhetorical Appeals by Angelica Davila
- 8: Introduction to Logical Fallacies by Angelica Davila
- 9: Analyzing a Text for a Rhetorical Analysis Paper by Angelica Davila
- 10: Structure of a Rhetorical Analysis Paper by Angelica Davila
- 11: Thesis Statements and the Rhetorical Analysis Paper by Angelica Davila
- 12: Body Paragraphs and the Rhetorical Analysis by Angelica Davila
- 13: Small Farms vs Corporate Farms by Beth Harris
- 14: Universal Basic Income By Beth Harris
- 15: Ethical Consumerism by Beth Harris
- 16: Rhetorical Analysis by H. Morrison
- 17: Critical Reading and Annotation for Academic Writing by H. Morrison
- 18: The Rhetorical Situation by H. Morrison
- 19: Academic Essay Structure by H. Morrison
- 20: Argumentation by H. Morrison
- 21: The Body of the Academic Essay by H. Morrison
- 22: MLA Citations and Source Integration by H. Morrison
- 23: Argumentative Comparison and Contrast Essays [Sojourner Truth] by H. Morrison
- 24: Counterarguments by H. Morrison
- 25: Critical Editing- Grammar, Punctuation, and Concise, Specific Language by H. Morrison
- 26: Essay Introductions and Conclusions by H. Morrison
- 27: Language Choices in Academic Essays by H. Morrison
- 28: Logic Fallacies and Academic Writing by H. Morrison
- 29: Academic Essay Structure by H. Morrison
- 30: Understanding the Writing Process and Planning for Success by H Morrison
- 31: Summarizing in Academic Writing by H. Morrison
- Back Matter
- 32: Evaluating Sources by H. Morrison
- 33: Research Topic Narrowing by H. Morrison
- Humanities: City Colleges of Chicago Course Materials
- This OER contains readings, classroom activities, and assignments for use in humanities and English courses at City Colleges of Chicago. The subject matter offered is in the media studies discipline, and the focus is diversity, equity, inclusion, and social justice.
- Front Matter
- 1: Reading Culture - A Primer on Power and Ideology
- 2: Reading Culture - Critical Perspectives on Technology
- 3: Reading Culture - Semiotics and the Fundamentals of Meaning-Making
- 4: Reading Culture - Children's Media and the ‘Always/Already’ of Ideology
- 5: Reading Culture - Oppositional Viewership and You
- 6: Reading the News - Critical Media Strategies
- 7: Reading the Movies - An Introduction to Cinematic Language
- 8: Reading Television - The Cultural Shifts of Streaming Media
- 9: Reading the Internet - The Political Power of Memes
- 10: Reading the Internet - Coded Inequalities and Algorithmic Bias
- 11: Reading the Internet - The (Hidden) Costs of the Digital
- 12: Reading Social Media - TikTok, Instagram, and the Making of You
- 13: Reading Algorithms - Parrot of the Ideological
- 14: Reading Culture - Digital Activism
- 15: Reading the Environment - Media Representation and Climate Change
- 16: Reading Spectacle - A Close Look at the 1893 World's Fair
- 17: Reading Photographs - A Close Look at Photographic Origins of Mugshots and Facial Recognition
- 18: Reading Photographs - Truth, Lies, and Power Dynamics in Historical Photography
- 19: Reading Public Art - Inscribing Our Environment
- 20: Reading Pop Art in Fashion - Commerce, Consumption, and Costume
- Back Matter

