In this Issue
An official journal of the College English Association, The CEA Critic publishes scholarly works that, through "close reading" methodology, examine the texts of fiction, poetry, drama, nonfiction, and film studied on the college level. Bridging traditional academic scholarship with practical pedagogy, the journal encompasses a broad range of interests gathered traditionally under English studies: literature, women’s studies, speech, composition, minority studies, creative writing, popular culture, film studies, technical communication, and ESL (English as a Second Language). By focusing on the contextual rather than the theoretical aspects of works, The CEA Critic provides a refreshingly sharp academic and practical perspective for teachers and scholars alike. Published three times a year in Winter, Spring-Summer, and Fall for the College English Association (CEA).
published by
Johns Hopkins University Pressviewing issue
Volume 86, Number 1, March 2024Table of Contents
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View They Don’t Read Very Well: A Study of the Reading Comprehension Skills of English Majors at Two Midwestern Universities
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They Don’t Read Very Well: A Study of the Reading Comprehension Skills of English Majors at Two Midwestern Universities
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View Perceiving the Human through the Nonhuman: Posthumanism in Issac Asimov’s The Bicentennial Man
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Perceiving the Human through the Nonhuman: Posthumanism in Issac Asimov’s The Bicentennial Man
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View Remediation and Epistemological Revelation in the Archimedes Palimpsest and Twenty-First-Century Erasure Poetry
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Remediation and Epistemological Revelation in the Archimedes Palimpsest and Twenty-First-Century Erasure Poetry
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View Seeing Race in Post-Racial America: Spectatorship and Visibility of the Racial Experience in Branden Jacobs-Jenkins’ An Octoroon (2014)
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Seeing Race in Post-Racial America: Spectatorship and Visibility of the Racial Experience in Branden Jacobs-Jenkins’ An Octoroon (2014)
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| ISSN | 2327-5898 |
|---|---|
| Print ISSN | 0007-8069 |
| Launched on MUSE | 2024-03-13 |
| Open Access | No |
