Transcript Chapter 10 Test Taking Tip

Mather ● McCarthy
The Art of Critical Reading
Part 4
Reading Critically
Chapter 10
Bias
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Good critical readers must be aware
of their own biases
and the biases of others.
A bias is a strong leaning in either
a positive or negative direction.
A bias is very similar to a prejudice.
Sometimes writers simply state their biases;
however, most biases are implied by the writer.
Part 4: Reading Critically
Chapter 10: Bias
2
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Subjective material generally places more emphasis
on opinions than facts,
and it is more likely to display a strong bias.
A critical reader will study the author’s line of reasoning,
notice whether opinions are supported by facts and reasons,
and then decide if the author’s bias
has hindered the making of a good argument.
Part 4: Reading Critically
Chapter 10: Bias
3
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
As you are reading textbook material,
keep in mind that the authors also have biases.
Their biases will influence the way they present the material.
Although textbooks primarily deal with factual material,
authors must decide what facts to include and omit,
and what facts to emphasize.
Pay attention to the author’s tone and choice of words
to determine if a bias is present.
Such caution is especially important
when the material deals with a controversial issue.
Part 4: Reading Critically
Chapter 10: Bias
4
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Denotative and Connotative Language
When you look a word up in the dictionary,
you are determining its exact meaning
without the suggestions or implications
that it may have taken on.
This is called the denotative meaning of a word.
Part 4: Reading Critically
Chapter 10: Bias
5
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
The connotative meaning of a word
refers to the ideas or feelings suggested by the word.
Words that have the same denotative meaning
can have much different connotative meanings.
The connotation of a word can tell you a lot about
what the speaker of the word means by it.
Not all words have connotative meanings.
Part 4: Reading Critically
Chapter 10: Bias
6
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Words that are heavily connotative
are often referred to as
“loaded” or “emotionally charged.”
Writers who have a particular point of view
and want to persuade you to accept that view
often make use of loaded words or phrases.
Thus subjective material is more likely
to rely on connotative,
rather than denotative, language,
and it is more likely to display a strong bias.
Part 4: Reading Critically
Chapter 10: Bias
7
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Euphemism
The word euphemism
is derived from the Greek word euphemos,
meaning “to use a good word
for an evil or unfavorable word.”
The Greek prefix
eu means “good,”
and
phemi means “speak.”
Part 4: Reading Critically
Chapter 10: Bias
8
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
When someone substitutes an inoffensive word or phrase
for one that could be offensive to someone,
they are using a euphemism.
Most of the time euphemisms are used to be polite
or to avoid controversy.
Euphemisms can also be used
to purposely mislead and obscure the truth.
Part 4: Reading Critically
Chapter 10: Bias
9
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Propaganda Devices
Webster’s dictionary defines propaganda as
“a systematic effort to promote a particular cause
or point of view.”
Thus by definition, propaganda is not evil or deceptive.
However, some of the techniques used are questionable
because they appeal primarily to our emotions
rather than to our intellect.
Part 4: Reading Critically
Chapter 10: Bias
10
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Slogans
The slogan is equally effective
in advertising
and political campaigns.
In the latter, it usually takes the form of a chant
that can unite large crowds into one common emotion.
Part 4: Reading Critically
Chapter 10: Bias
11
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Name-Calling
Name-calling is a device used widely
in political and ideological battles
as well as in commercial advertising campaigns.
It tries to make us form a judgment
without examining the evidence on which it should be based.
Propagandists appeal to our instincts of hate and fear.
They do this by giving bad names to those
individuals, groups, nations, races, or consumer products
that they would like us to condemn or reject.
Part 4: Reading Critically
Chapter 10: Bias
12
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Glittering Generalities
Glittering generalities are broad, widely accepted ideals
and virtuous words that are used to sell a point of view.
Like name-calling, glittering generalities urge us to
accept and approve something without examination.
Part 4: Reading Critically
Chapter 10: Bias
13
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Transfer
Some advertisements
use symbols of authority, prestige, and respect
that arouse emotions to sell a cause,
a candidate, or a consumer product
through the process of subconscious
transfer or association.
Part 4: Reading Critically
Chapter 10: Bias
14
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Testimonial
A testimonial
is an endorsement
of a product
or an individual
by celebrities
or
other well-respected persons.
Part 4: Reading Critically
Chapter 10: Bias
15
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Plain Folks
The plain-folks device
creates the impression
that
the advertisers
or
political candidates
are just ordinary folks
like you and me.
Part 4: Reading Critically
Chapter 10: Bias
16
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Card Stacking
Card stacking is the technique by which
facts, illustrations, and statements
are carefully selected
to make the maximum impact
and
sometimes give misleading impressions.
The cliché that
“statistics don’t lie, but you can lie with statistics”
applies to this technique.
Part 4: Reading Critically
Chapter 10: Bias
17
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Bandwagon
The bandwagon device is based on the idea that
“if everybody else is doing it, so should you.”
“Jump on the bandwagon,”
“follow the crowd,”
“be the first in your neighborhood,”
and
“don’t throw your vote away by voting for a loser”
are clichés associated with this device.
The psychology behind this technique
makes political polling important at election time.
The fact that each candidate needs to project the image
that he or she is a winner often leads to some conflicting polling results.
Part 4: Reading Critically
Chapter 10: Bias
18
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Sex Appeal
We don’t ordinarily think of sex as a propaganda device,
but it sells products in many ways.
In recent years, emotional appeals based on sex
have been used more and more in product advertising.
Sex appeal is used to stimulate emotions
and sell consumer products to both sexes.
Part 4: Reading Critically
Chapter 10: Bias
19
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Music
The last device in our list is also seldom thought of
as a propaganda device,
yet it is one of the most effective techniques
in radio and television commercials.
Music is an excellent tool for creating specific moods,
and it can be used effectively for product identification.
Part 4: Reading Critically
Chapter 10: Bias
20
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Chapter 10 Test Taking Tip—
Improving Your Performance on Essay Tests
Organizing your answer
Once you have recalled the material you need
to answer an essay question,
you need to begin thinking about
how to organize your answer.
Knowing the information goes a long way toward writing a good essay,
but how you organize the information also counts.
This is especially true for “big picture” essay questions.
Part 4: Reading Critically
Chapter 10: Bias
21
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Your organization will show the teacher how well you understand
the relationships among ideas and concepts.
A traditional essay has an introduction,
three paragraphs of development,
and a conclusion.
This does not mean that a good essay cannot have
more or less than three paragraphs,
but ordinarily an essay that is three paragraphs long
will say what needs to be said without saying too much.
Part 4: Reading Critically
Chapter 10: Bias
22
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
Usually the three paragraphs of the traditional essay
are developed in the same order in which their main ideas
are mentioned in the introductory statement.
Remember that each paragraph should develop only one main idea.
Often the secret to writing a good essay
is constructing a good introductory statement,
because once you have a good introductory statement,
the rest of the essay follows from it.
This is one reason it makes sense to do some thinking
and organizing before you start to write.
Part 4: Reading Critically
Chapter 10: Bias
23
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.
Mather ● McCarthy
The Art of Critical Reading
To write a good introductory statement,
it sometimes helps to take the question
and rearrange it into an introductory statement.
Part 4: Reading Critically
Chapter 10: Bias
24
© 2005 The McGraw-Hill Companies, Inc. All rights reserved.