Instructions: For our class, discussion questions are designed to help us practice critical analysis, as well as writing. You are asked to respond to one question per author from of the questions below or, if some other aspect of the texts stands out to you, to develop your own question to which you write a response. In your response, please identify the discussion question to which you’re responding by including the DQ number. Your response should work toward making an interpretation of the text, an argumentative analysis (that doesn’t simply yield to a yes-or-no response). Discussion question responses don’t have a hard word count limit, but ideally, they should be at least/around 350 words, or one page. If something really peaks your interests and you’d like to write more, then, definitely do so! Remember to bring either print or digital versions of the texts to class with notes and annotations in preparation for discussion.
(1) What questions, concerns, or interests do today’s readings raise for you? How did you find yourself reacting to the patterns the authors discuss and to their interpretations of the evidence? Shock, anger, irritation, nihilism, motivated, etc.? What aspects of your life experiences seem to prompt or inform your response(s) and reaction(s)?
(2) Look back to Anzaldúa, Baldwin, and Díaz’s pieces and your notes on those texts. What (if any) connections do you see between those authors and Fattal and Lippi-Green? Moreover, what differences do you notice between the three former authors’ approach to argumentation and the later two (such as writing style, types of evidence and analysis, political messages, etc.)? If you were to make an argument based on all these authors, then what would it be?
Fattal
(3) Analyze the cover photo that Fattal employs in her her piece. What narrative or story is the photo showing us? What type of mood or response does it seem to be trying to illicit, and how so? How does it lead into and relate to her piece, overall? (It could be helpful to think of the cover image in Boxer’s piece–there’s another upfront similarity to Boxer’s, as well.)
(4) What topics, issues, and/or arguments does Fattal’s introductory paragraph (begin to) establish? Do you think it effectively leads into the rest of her piece, and if so, why do you think so?
(5) What is or seems to be Fattal’s central claim? Is it explicit? Does Fattal make an argument about the use of accents in children’s films, or is she arguing about and for something else? Alongside this, you might need to consider the organization and development of her paper. It’s not the standard five-paragraph essay. I’d say her piece develops her argument over time. Why do you think she chose this structure for this argument?
Lippi-Green
(6) Analyze Lippi-Green’s introductory section (79-82). To do so, it might be helpful to ‘nutshell’ each of the paragraphs in your notes. Nutshelling describes summing up the kernel or main point/function of something. Doing this might better enable you to visualize the writing’s movements.
(7) What are some of the artistic contexts and functions of accents that Lippi-Green discusses? She raises multiple different situations in which accents play a role and purposes toward which accents can work. What do you make of these in relation to her final interpretations and broader implications?
(8) Think back to Sarah Boxer’s article. What do you make of her type of analysis in comparison with Lippi-Green’s type? Both notice a pattern, but they take pretty substantially different approaches to analysis and interpretation. Do you see a problem with the quantitative method that Lippi-Green (and Fattal, indirectly) employs? For one example, you might consider the Figure 5.6.
(9) What is Lippi-Green trying to do in her final two paragraphs? What do you make of the example and the claims? Do you this effectively concludes her piece? Why or why not?
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