D.Emily Chase, 'Warping Time with Montaigne.' Emily D.Chase, 'Notes from a Journey toward Warping Time.' Simone Poirier-Bures, 'That Shining Place: Crete 1966.' Simone Poirier-Bures, 'Afterword: The Greece Piec. Root, Jr., 'Collage, Montage, Mosaic, Vignette, Episode, Segment.' Scott Russell Sanders, 'The Singular First Person.' Richard Selzer, 'The Exact Location of the Soul.' Jane Tompkins, 'Me and My Shadow.' Marianna DeMarco Torgovnick, 'Experimental Critical Writing.' III.COMPOSING CREATIVE NONFICTION. Lunsford, 'Creative Nonfiction: Whats in a Name?' Donald M. Chris Anderson, 'Late Night Thoughts on Writing and Teaching Essays.' Jocelyn Bartkevicius, 'The Landscape of Creative Nonfiction.' Mary Clearman Blew, 'The Art of Memoir.' David Bradley, 'The Faith.' Annie Dillard, 'To Fashion a Text.' Peter Elbow, 'About Personal Expressive Academic Writing.' Rebecca Blevins Faery, 'On the Possibilities of the Essay: A Meditation.' Patricia Hampl, 'Memory and Imagination.' Tracy Kidder, 'Courting the Approval of the Dead.' Lisa Knopp, 'Excavations.' Fern Kupfer, 'Everything but the Truth?' Sydney Lea, 'What We Didnt Know We Knew.' Phillip Lopate, 'What Happened to the Personal Essay?' Andrea A. Murray, 'Amid Onion and Oranges, a Boy Becomes a Man.' Kathleen Norris, 'Celibate Passions.' Naomi Shihab Nye, 'Three Pokes of a Thistle.' Brenda Peterson, 'Animal Allies.' Richard Rodriguez, 'Late Victorians.' Witold Rybczynski, 'Designs for Escape.' Scott Russell Sanders, 'Cloud Crossing.' Reg Saner, 'Pliny and the Mountain Mouse.' Richard Selzer, 'The Masked Marvels Last Toehold.' Leslie Marmon Silko, 'In the Combat Zone.' Nancy Sommers, 'I Stand Here Writing.' Michael Steinberg, 'Trading Off: A Memoir.' Jeffrey Tayler, 'Vessel of Last Resort.' Lewis Thomas, 'Seven Wonders.' Jane Tompkins, 'At the Buffalo Bill Museum, June 1988.' Susan Allen Toth, 'Going to the Movies.' Roger Weingarten, 'Fireworks to Praise a Homemade Day.' Nancy Willard, 'The Friendship Tarot.' II.TALKING ABOUT CREATIVE NONFICTION.
Phyllis Barber, 'Oh Say Can You See?' Mary Clearman Blew, 'The Unwanted Child.' Judith Ortiz Cofer, 'Silent Dancing.' Frank Conroy, 'Running the Table.' William DeBuys, 'Aerial Reconnaissance.' Annie Dillard, 'Living Like Weasels.' Gretel Ehrlich, 'From a Sheepherders Notebook: Three Days.' Patricia Hampl, 'Parish Streets.' Vickie Hearne, 'Can an Ape Tell a Joke?' Garrett Hongo, 'Fraternity.' Pico Iyer, 'Where Worlds Collide.' Sydney Lea, 'On the Bubble.' Phillip Lopate, 'Portrait of My Body.' Nancy Mairs, 'Carnal Acts.' John McPhee, 'From Birnham Wood to Dunsinane.' Barbara Mellix, 'From Outside, In.' Donald M. Introduction: Creative Nonfiction, The Fourth Genre. Alternative Contents: Subgenres of Creative Nonfiction.This passage on surveys summarizes several paragraphs worth of information into two sentences the writer “interprets” the original text by choosing which pieces of information to include and which to overlook because they are irrelevant to her argu ment.Bibliography Includes bibliographical references and index. Because there is no time limit and participants can read and reply to the questions in private, self-administered questionnaires can include more complex individual questions, as the participant will have time to consider the question carefully before responding (Kennedy and Vargus 486). Typically, self-administered questionnaires assume that participants will complete the survey on their own time and with no intervention from the survey researchers. Paraphrasing involves synthesis: the ability to summarize and interpret at the same time. The goal in paraphrasing is to condense as much relevant information as possible into a brief statement that summarizes the gist of the source’s argument. Interpretation than on your source’s original words.
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