what is critical thinking in literature

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You are here, unit 5: facilitating critical thinking through literature, introduction.

Literature is an effective tool for engaging students in critical thinking. By teaching children to analyse and evaluate literary texts appropriate to their age and interests, we can help them develop critical thinking skills. This involves seeing relationships between events, drawing inferences, analysing events, synthesising evidence and evaluating both the content of a text and the language used to the express ideas contained within it.

Unit outcomes

Upon completion of this unit you will be able to:

Terminology

Teacher support information.

The literature class gives a teacher the opportunity to engage students in discussions about the ideas expressed in literary texts. This exercise benefits students in two ways: firstly, it gives them an opportunity to express their own ideas about life and relationships, values and beliefs, and interests and dislikes; secondly, it forces them to use a more complex set of structures and a more “advanced” range of vocabulary. As a language teacher in a literature class, you can exploit this situation by engaging students in group and pair activities to read sections of texts and then give their opinions about characters in the text, for example, or the style of writing — whether it is interesting, humorous, tragic, and so on. This will let students practise expressing opinions, drawing inferences, explaining cause-and-effect relationships, comparing facts and applying ideas they have gleaned from literature to new situations. In addition, they will learn how to analyse texts based on logical reasoning and to synthesise and evaluate the information in the texts.

Activity 1: Using literature to develop critical thinking: Drawing inferences from a text

Activity 2: evaluating a literary text, activity 3: from critical to creative skills: participating in creative writing workshops, activity 4: collaborative creative writing: creating a big book, unit summary, reflections, resource 1: inferring information from a literary text: a sample text.

Inferential questions:

Why do you think Trudy’s mother was shouting at her?

Does Trudy understand her responsibilities?

Is Trudy a tidy person?

Look up the meaning of the word “curious” in your dictionary. Is Trudy a curious person?

Did Trudy’s grandfather finally get to spend his life with Betty?

Do you think it was normal for girls and boys to meet freely during Trudy’s grandfather’s time?

Resource 2a: Critically reflecting on and responding to literary texts: Asking evaluative questions

Resource 2b: how to write a journal entry (worksheet), teacher question and answer.

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Article contents

Critical literacy.

Vivian Maria Vasquez Vivian Maria Vasquez American University
https://doi.org/10.1093/acrefore/9780190264093.013.20
Published online: 29 March 2017

Changing student demographics, globalization, and flows of people resulting in classrooms where students have variable linguistic repertoire, in combination with new technologies, has resulted in new definitions of what it means to be literate and how to teach literacy. Today, more than ever, we need frameworks for literacy teaching and learning that can withstand such shifting conditions across time, space, place, and circumstance, and thrive in challenging conditions. Critical literacy is a theoretical and practical framework that can readily take on such challenges creating spaces for literacy work that can contribute to creating a more critically informed and just world. It begins with the roots of critical literacy and the Frankfurt School from the 1920s along with the work of Paulo Freire in the late 1940s (McLaren, 1999; Morrell, 2008) and ends with new directions in the field of critical literacy including finding new ways to engage with multimodalities and new technologies, engaging with spatiality- and place-based pedagogies, and working across the curriculum in the content areas in multilingual settings. Theoretical orientations and critical literacy practices are used around the globe along with models that have been adopted in various state jurisdictions such as Ontario, in Canada, and Queensland, in Australia.

critical literacy
critical pedagogy
social justice
multiliteracies
text analysis
discourse analysis
everyday politics
language ideologies

Historical Orientation

Luke ( 2014 ) describes critical literacy as “the object of a half-century of theoretical debate and practical innovation in the field of education” (p. 21). Discussion about the roots of critical literacy often begin with principles associated with the Frankfurt School from the 1920s and their focus on Critical Theory. The Frankfurt School was created by intellectuals who carved out a space for developing theories of Marxism within the academy and independently of political parties. While focusing on political and economic philosophy, they emphasized the importance of class struggle in society. More prominently associated with the roots of critical literacy is Paulo Freire, beginning with his work in the late 1940s (McLaren, 1999 ; Morrell, 2008 ), which focused on critical consciousness and critical pedagogy. Freire’s work was centered on key concepts, which included the notion that literacy education should highlight the critical consciousness of learners. In his work in the 1970s Freire wrote that if we consider learning to read and write as acts of knowing, then readers and writers must assume the role of creative subjects who reflect critically on the process of reading and writing itself along with reflecting on the significance of language ( 1972 ). Together with Macedo in the 1980s, Freire popularized the concept that reading is not just about decoding words. In their work, Freire and Macedo ( 1987 ) noted that reading the word is simultaneously about reading the world. This means that our reading of any text is mediated through our day-to-day experience and the places, spaces, and languages that we encounter, use, and occupy. This critical reading can lead to disrupting and “unpacking myths and distortions and building new ways of knowing and acting upon the world” (Luke, 2014 , p. 22). As such this conceptualization of critical literacy disrupts the notion of false consciousness described earlier by Hegel and Marx (Luke, 2014 ).

The Frankfurt School scholars and Freire focused their work on adult education. For instance in the 1960s Freire organized a campaign for hundreds of sugar cane workers in Brazil to participate in a literacy program that centered on critical pedagogy. His work became known as liberatory, whereby he worked to empower oppressed workers. Critiques of Freire have focused primarily on claims that the liberatory pedagogy he espoused was unidirectional because educators liberated students. The binary represented here was also seen as problematic. Nevertheless his grounding work pushed to the fore the importance and effects of critical pedagogy as a way of making visible and examining relations of power to change inequitable ways of being. Work done by the Frankfurt School and Freire were overtly political and inspired the political nature and democratic potential of education as central to critical approaches to pedagogy (Comber, 2016 ) as seen in work done by researchers and educators such as Campano, Ghiso and Sánchez ( 2013 ), Janks ( 2010 ), and Vasquez ( 2004 ).

Luke ( 2014 ) noted antecedents to these approaches including early-twentieth-century exemplars of African-American community education in the United States that were established in many cities (Shannon, 1998 ), Brecht’s experiments with political drama in Europe (Weber & Heinen, 2010 ), and work by Hoggart ( 1957 ) and Williams ( 1977 ) on post-war cultural British studies amongst others.

Theoretical Orientations

Various theoretical paradigms and traditions of scholarship have influenced definitions of critical literacy and its circulation, as well as its practice. These include feminist poststructuralist theories (Davies, 1993 ; Gilbert, 1992 ) post colonialist traditions (Meacham, 2003 ), critical race theory (Ladson-Billings, 1999 , 2003 ), critical linguistics and critical discourse analysis (Fairclough, 1995 ; Janks, 2010 ), cultural studies (Pahl & Rowsell, 2011 ), critical media literacy (Share, 2009 , 2010 ), queer theory (Vicars, 2013 ), place conscious pedagogy (Comber, 2016 ), and critical sociolinguistics and linguistic anthropology (Makoni & Pennycook, 2007 ; Blommaert, 2013 ; McKinney, 2016 ). Theoretical toolkits, or combinations of such theories have resulted in different orientations to critical literacy. As such it is viewed as a concept, a framework, or perspective for teaching and learning, a way of being in the classroom, and a stance or attitude toward literacy work in schools. These different theoretical orientations help shape different views. Regardless, “the project remains understanding the relationship between texts, meaning-making and power to undertake transformative social action that contributes to the achievement of a more equitable social order” (Janks & Vasquez, 2011 , p. 1). As such, regardless of the view one takes, a common understanding is that critical literacy focuses on unequal power relations—and issues of social justice and equity—in support of diverse learners. Diversity of learners includes taking the languages they bring with them to school seriously and understanding the ways in which multilingual children are treated unjustly when their linguistic repertoires are excluded from classrooms.

There are also those who argue that critical literacies are not just orientations to teaching literacy but a way of being, living, learning, and teaching (Vasquez, 2005 , 2014a , 2015 ; Zacher Pandya & Avila, 2014 ). Vasquez ( 2001 , 2010 , 2014b ) describes critical literacy as a perspective and way of being that should be constructed organically, using the inquiry questions of learners, beginning on the first day of school with the youngest learners. From this perspective it follows that such a perspective or way of being cuts across the curriculum. Similarly Zacher Pandya and Avila ( 2014 ) and Vasquez, Tate, and Harste ( 2013 ) note the need for critical literacy to be defined by individuals, within their own contexts, once they have learned about, and experienced, its central ideas. Comber discusses this in terms of teachers’ dispositions, which include their discursive resources and repertoires of practice (Comber, 2006 ). As such critical literacy can be described as “an evolving repertoire of practices of analysis and interrogation which move between the micro features of texts and the macro conditions of institutions, focusing on how relations of power work through these practices” (Comber, 2013 , p. 589). Janks ( 2010 ), Kamler ( 2001 ), and Luke ( 2013 ) have noted more recently the importance of not only analyzing text but also designing and producing it as well. In this regard, equally important is to understand the position(s) from which we analyze text and also the position(s) from which we design and produce texts.

Critical Literacy in Practice around the Globe

Critical literacy has taken root differently in different places around the world but most notably in South Africa (Granville, 1993 ; Janks, 1993a , 2010 ; Janks et al., 2013 ), Australia and New Zealand (Comber, 2001 , 2016 ; Luke, 2000 ; Morgan, 1997 ; O’Brien, 2001 ), and the United States and Canada (Larson & Marsh, 2015 ; Lewison, Leland, & Harste, 2014 ; Pahl & Rowsell, 2011 ; Vasquez, 2001 , 2010 , 2014b ).

For instance, in South Africa, Hilary Janks ( 1993a , 1993b , 2010 , 2014 ) used critical literacy as a tool in the struggle against apartheid. Her work focused primarily on young adults and adolescents “to increase students’ awareness of the way language was used to oppress the black majority, to win elections, to deny education, to construct others, to position readers, to hide the truth, and to legitimate oppression” ( 2010 , p. 12). To this end, she produced Critical Language Awareness (CLA) materials for use with older children in South African schools (Janks et al., 2013 ). In Australia, critical materials were created, in the form of workbooks, to deconstruct literary texts (Mellor, Patterson, & O’Neill, 1987 , 1991 ). Also in Australia, work deriving from postcolonial theory, was produced by Freemantle Press (Martino, 1997 ; Kenworthy & Kenworthy, 1997 ). Some of these materials informed work done in middle school and high school settings by educators and researchers such as Morgan ( 1992 , 1994 ), Gilbert ( 1989 ), and Davies ( 1993 ).

Critical literacy work with younger children began to take place in the 1990s in Australia, where Barbara Comber’s work has been very influential. In particular, her work with Jenny O’Brien on creating spaces for critical literacy in an elementary school classroom, using newspaper and magazine ads, has been highly cited in the literature (O’Brien, 2001 ). In the United States and Canada, Vivian Vasquez’s work with children between ages three to five opened the field for exploration in settings involving very young children by using their inquiries about the world around them to question issues of social justice and equity, using the everyday as text (i.e., food packaging, media ads, popular culture), as well as children’s literature. Although there are growing accounts of critical literacy work in early years classrooms (Sanchez, 2011 ; Vander Zanden, 2016 ; Vander Zanden & Wohlwend, 2011 ), more examples of practice are needed as demonstrations of possibility in school settings with young children.

Earlier critical literacy work in early childhood and elementary settings focused on critically reading and deconstructing texts as a way to help students question versions of reality in the world around them. For example, in Australia, O’Brien ( 2001 ) explored ways in which Mother’s Day ads worked to position readers of such texts in particular ways. She described this work as “helping her children probe representations of women, and setting them purposeful reading, writing, and talking tasks” (p. 52). At around the same time, researchers such as Ivanič ( 1998 ) and Kamler ( 2001 ) began highlighting critical writing in their work with older children. Janks ( 2010 ) refers to this as an important move that enabled us to think where we might go after critically reading a text. She notes, “because texts are constructed word by word, image by image, they can be deconstructed—unpicked, unmade, the positions produced for the reader laid bare” (Janks, 2010 , p. 18). A space is thus created for us to think about “how texts may be rewritten and how multimodal texts can be redesigned” (Janks, 2010 , p. 19). Such perspectives further informed the work of educators and researchers of critical literacy. Comber and Nixon ( 2014 ), for instance, attended “to the importance of children’s agency through text production and related social action” (p. 81). Examples of this include work done by Vasquez ( 2001 , 2004 , 2010 , 2014b ) in building critical curriculum using her preschool students’ inquiry questions about inequities within their school as a way to disrupt and dismantle such inequity and create new more equitable practices and places in which to engage in such practices. Reading the world as a text that could be deconstructed and reconstructed created a space for Vasquez and her students to disrupt and rewrite problematic school practices. As noted by Janks ( 2010 ), “if repositioning text is tied to an ethic of social justice then redesign can contribute to the kind of identity and social transformation that Freire’s work advocates” (p. 18).

The notion of design and redesign was introduced to the field through the New London Group ( 1996 ) in their paper on multiliteracies. Kress and his colleagues (Kress & van Leeuwen, 2006 ; Mavers, 2011 ) extend this work stating the importance of design as “the shaping of available resources into a framework which can act as a blueprint for the production of the object, entity, or event” (Kress & van Leeuwen, 2006 , p. 50). Janks ( 2003 ) refers to this as “a pedagogy of reconstruction,” while McKinney ( 2016 ) calls this transformative pedagogy. This pedagogy is integral to one of the most notable models to inform critical literacy practice, Janks’ Interdependent Model (Janks, 2010 ).

Critical literacy is also being used in state jurisdictions such as Ontario in Canada and Queensland in Australia, where governments have endorsed its use in school curricula. Its use is also growing in emerging and post colonial contexts (Norton, 2007 ; Lo et al., 2012 ). For instance, in her work in Karachi, Pakistan, Norton ( 2007 ) notes that students made frequent reference to the relationship between literacy, the distribution of resources, and international inequities. In Hong Kong, Lo et al. ( 2012 ) reported on “working with students to understand the social and political framing and consequences of texts” (p. 121). With regards to such work Luke ( 2004 ) has argued for the need to do justice to the lived experiences of physical and material deprivation in diverse communities throughout the globe. As such critical literacy should be adopted and adapted and should continue to emerge across a spectrum of political economies, nation states, and systems from autocratic/theocratic states to postcolonial states not only as an epistemic stance but also as a political and culturally transgressive position that works to create spaces for transformative social actions that can contribute to the achievement of a more equitable social order.

Influential Models

Different orientations to critical literacy have resulted in different models that impact critical pedagogy. Three influential models, in particular will be addressed here: Freebody and Luke’s Four Resources Model, Janks’ Interdependent Model, and Green’s 3D Model of Literacy.

Allan Luke and Peter Freebody have played a central role in making critical literacy accessible across continents. In particular their Four Resources Model (Luke & Freebody, 1999 ) has been widely adapted for use in classrooms from preschool to tertiary education settings. Their model focuses on different literacy practices that readers and writers should learn. These practices are learning to be code-breakers—recognizing, understanding, and using the fundamental features of written text such as the alphabet; learning to be text participants—using their own prior knowledge to interpret and make meaning from and bring meaning to text; understanding how to use different text forms; and becoming critical consumers of those forms—learning to critically analyze text and understand that texts are never neutral. Colin Lankshear and Michelle Knobel ( 2004 ) challenge Luke and Freebody’s model claiming it does not support literacy practices in a digitized world or for those who are “digitally at home”; those comfortable with and competent in using new technologies. In turn they offer examples of the kind of roles related to literacy practices in a digitized world assumed by authors of digital texts. These roles are as text designer, one who designs and produces multimedia or digital texts; text mediator or broker, one who summarizes or presents aspects of texts for others such as a blogger; text bricoleur, one who constructs or creates text using a range or collection of available things; and text jammer, one who re-presents text it in some way, such as by adding new words or phrases to an image as a way to subvert the original meaning (Lankshear & Knobel, 2004 ).

Larson and Marsh ( 2015 ), however, state that Lankshear and Knobel’s ( 2004 ) model focuses primarily on text production rather than text analysis. In comparison, Hilary Janks ( 2010 , 2014 ) in her model for critical literacy includes both text analysis and text design as integral elements. Janks’ model centers on a set of interdependent elements—namely access, domination/power, diversity, and design/re-design. She argues “different realizations of critical literacy operate with different conceptualizations of the relationship between language and power by foregrounding one or other of these elements” (Janks, 2010 , p. 23). She notes that these complementary and competing positions speak to the complexities of engaging with critical literacies and that they are crucially interdependent.

More recently, Comber reflected, “originally these approaches did not foreground the spatial dimensions of critical literacy”( 2016 , p. 11). Comber argues that insights from theories of space and place and literacy studies can create opportunities for designing and enacting culturally inclusive curriculum to support the needs of diverse learners. As such, in her work, one of the models she draws from is Green’s 3D Model of Literacy. This model is a multidimensional framework which argues that there are always three dimensions of literacy simultaneously at play: the operational, learning how the language works and ways that texts can be structured; the cultural, which involves the uses of literacy and in particular the ways that cultural learning is involved with content learning; and the critical, the ways in which we act and see in the world, along with how literacy can be used to shape lives in ways that better serve the interests of some over others. As such, Green’s model is a useful frame for unpacking links between literacy, place, and culture.

Debate, Controversy, and Critical Literacy

In spite of advances in the field with regards to critical literacy, there is still confusion about the difference between “critical” from the Enlightenment period, which focused on critical thinking and reasoning, and “critical” from Marx as an analysis of power. The debate and controversy around this continues. Definitions for critical literacy are often at the center of such debates, which are likely in response to attempts by some educators and researchers to pin down a specific definition for critical literacy. Theorists and educators including Comber ( 2016 ), Vasquez ( 2010 , 2014b ), and Luke ( 2014 ) maintain that as a framework for engaging in literacy work, it should look, feel, and sound different. As previously discussed, the models used as part of one’s critical literacy toolkit help contribute to the kinds of work one might accomplish from such a perspective. Critical literacy should also be used as a resource for accomplishing different sorts of life work depending on the context in which it is used as a perspective for teaching, learning, and participating with agency in different spaces and places. Vasquez ( 2010 , 2014b ) has referred to this framing as a way of being, where she has argued that critical literacy should not be an add-on but a frame through which to participate in the world in and outside of school. Such a frame does not necessarily involve taking a negative stance; rather, it means looking at an issue or topic in different ways, analyzing it, and being able to suggest possibilities for change and improvement. In this regard critical literacies can be pleasurable and transformational as well as pedagogical and transgressive.

Consequently, there is no such thing as a critical literacy text. Rather there are texts through which we may better be able to create spaces for critical literacies. The world as text, however, can be read from a critical literacy perspective, especially given that what constitutes a text has changed. For instance, a classroom can be read as a text, and water bottles can also be read as text (Janks, 2014 ). What this means is that issues and topics of interest that capture learners’ interests, based on their experiences, or artifacts with which they engage in the material world, as they participate in communities around them, can and should be used as text to build a curriculum that has significance in their lives.

Key Aspects of Critical Literacy

In spite of the fact that critical literacy does not have a set definition or a normative history, the following key aspects have been described in the literature. It should be noted that such key aspects or tenets would likely take different shape depending on one’s orientation to critical literacy.

Critical literacy should not be a topic to be covered or a unit to be studied. Instead it should be looked on as a lens, frame, or perspective for teaching throughout the day, across the curriculum, and perhaps beyond. What this means is that critical literacy involves having a critical perspective or way of being.

While working across the curriculum, in the content areas, diverse students’ cultural knowledge (drawn from inside the classroom and the children’s everyday worlds, homes, and communities), their funds of knowledge (Gonzales, Moll, & Amanti, 2006 ), and multimodal and multilingual practices (Lau, 2012 ) should be used to build curriculum. Because students learn best when what they are learning has importance in their lives, using the topics, issues, and questions that they raise should therefore be an important part of creating the classroom curriculum.

From a critical literacy perspective the world is seen as a socially constructed text that can be read. The earlier students are introduced to this idea, the sooner they are able to understand what it means to be researchers of language, image, spaces, and objects, exploring such issues as what counts as language, whose language counts, and who decides as well as explore ways texts can be revised, rewritten, or reconstructed to shift or reframe the message(s) conveyed. As such, texts are never neutral. What this means is that all texts are created from a particular perspective with the intention of conveying particular messages. As such these texts work to position readers in certain ways. We therefore need to question the perspective of others.

Texts are socially constructed and created or designed from particular perspectives. As such, they work to have us think about and believe certain things in specific ways. Just as texts are never neutral, the ways we read text are also never neutral. Each time we read, write, or create, we draw from our past experiences and understanding about how the world works. We therefore should also analyze our own readings of text and unpack the position(s) from which we engage in literacy work.

Critical literacy involves making sense of the sociopolitical systems through which we live our lives and questioning these systems. This means our work in critical literacy needs to focus on social issues, such as race, class, gender, or disability and the ways in which we use language to shape our understanding of these issues. The discourses we use to take up such issues work to shape how people are able to—or not able to—live their lives in more or less powerful ways as well as determine such ways of being as who is given more or less powerful roles in society.

Critical literacy practices can be transformative and contribute to change inequitable ways of being and problematic social practices. As such, students who engage in critical literacy from a young age are likely going to be better able to contribute to a more equitably and socially just world by being better able to make informed decisions regarding such issues as power and control, practice democratic citizenship, and develop an ability to think and act ethically.

Text design and production are essential to critical literacy work. These practices can provide opportunities for transformation. Text design and production refer to the creation or construction of multimodal texts and the decisions that are part of that process. This includes the notion that it is not sufficient to simply create texts for the sake of “practicing a skill.” If students are to create texts they ought to be able to let those texts do the work intended. For instance, if students are writing surveys or creating petitions, they should be done with real-life intent for the purpose of dealing with a real issue. If students write petitions, they should be able to send them to whomever they were intended.

Finally, critical literacy is about imagining thoughtful ways of thinking about reconstructing and redesigning texts, images, and practices to convey different and more socially just and equitable messages and ways of being that have real-life effects and real-world impact. For instance critically reading a bottle of water as a text to be read could result in examining the practice of drinking bottled water and changing that practice in support of creating a more sustainable world.

New Directions

New directions in the field of critical literacy include finding new ways to engage with multimodalities and new technologies (Comber, 2016 ; Janks & Vasquez, 2010 ; Nixon, 2003 ; Nixon & Comber, 2005 ; Larson & Marsh, 2015 ), engaging with spatiality, time, and space (Dixon, 2004 ), place-based pedagogies (Comber, 2016 ; Comber & Nixon, 2014 ), working across the curriculum in the content areas (Comber & Nixon, 2014 ; Janks, 2014 ; Vasquez, 2017 ), and working with multilingual learners (Lau, 2012 , 2016 ). These new directions for critical literacy, amongst others that may develop, reiterate and remind us of what educators who have been working in the field of critical literacy for some time have maintained (Comber, 2016 ; Janks, 2014 ; Luke, 2014 ; Vasquez, 2014b )—that there is no correct or universal model of critical literacy. Instead “how educators deploy the tools, attitudes, and philosophies is utterly contingent … upon students’ and teachers’ everyday relations of power, their lived problems and struggles” (Luke, 2014 , p. 29) and the ways in which teachers are able to navigate the (P)politics of the places and spaces in which their work unfolds. Janks insists that critical literacy is essential to the ongoing project of education across the curriculum (Janks, 2014 ). She notes,

in a perfect world in which social differences did not determine who gets access to resources and opportunity, we would still need critical literacy to help us read the texts that construct the politics of everyday life. In the actual world—where a 17-year-old boy sells one of his kidneys for an iPad; … where millions of people lack access to drinking water or sanitation—the list is endless—it is even more important that education enables young people to read both the word and the world critically. (Janks, 2010 , p. 349)

as one way to engage learners in powerful and pleasurable literacies that could contribute to creating a more critically informed and just world.

Ideas to Action (i2a)

What is Critical Thinking?

The ability to think critically calls for a higher-order thinking than simply the ability to recall information.

Definitions of critical thinking, its elements, and its associated activities fill the educational literature of the past forty years. Critical thinking has been described as an ability to question; to acknowledge and test previously held assumptions; to recognize ambiguity; to examine, interpret, evaluate, reason, and reflect; to make informed judgments and decisions; and to clarify, articulate, and justify positions (Hullfish & Smith, 1961; Ennis, 1962; Ruggiero, 1975; Scriven, 1976; Hallet, 1984; Kitchener, 1986; Pascarella & Terenzini, 1991; Mines et al., 1990; Halpern, 1996; Paul & Elder, 2001; Petress, 2004; Holyoak & Morrison, 2005; among others).

After a careful review of the mountainous body of literature defining critical thinking and its elements, UofL has chosen to adopt the language of Michael Scriven and Richard Paul (2003) as a comprehensive, concise operating definition:

Critical thinking is the intellectually disciplined process of actively and skillfully conceptualizing, applying, analyzing, synthesizing, and/or evaluating information gathered from, or generated by, observation, experience, reflection, reasoning, or communication, as a guide to belief and action.

Paul and Scriven go on to suggest that critical thinking is based on: "universal intellectual values that transcend subject matter divisions: clarity, accuracy, precision, consistency, relevance, sound evidence, good reasons, depth, breadth, and fairness. It entails the examination of those structures or elements of thought implicit in all reasoning: purpose, problem, or question-at-issue, assumptions, concepts, empirical grounding; reasoning leading to conclusions, implication and consequences, objections from alternative viewpoints, and frame of reference. Critical thinking - in being responsive to variable subject matter, issues, and purposes - is incorporated in a family of interwoven modes of thinking, among them: scientific thinking, mathematical thinking, historical thinking, anthropological thinking, economic thinking, moral thinking, and philosophical thinking."

This conceptualization of critical thinking has been refined and developed further by Richard Paul and Linder Elder into the Paul-Elder framework of critical thinking. Currently, this approach is one of the most widely published and cited frameworks in the critical thinking literature. According to the Paul-Elder framework, critical thinking is the:

Analysis of thinking by focusing on the parts or structures of thinking ("the Elements of Thought")
Evaluation of thinking by focusing on the quality ("the Universal Intellectual Standards")
Improvement of thinking by using what you have learned ("the Intellectual Traits")

Selection of a Critical Thinking Framework

The University of Louisville chose the Paul-Elder model of Critical Thinking as the approach to guide our efforts in developing and enhancing our critical thinking curriculum. The Paul-Elder framework was selected based on criteria adapted from the characteristics of a good model of critical thinking developed at Surry Community College. The Paul-Elder critical thinking framework is comprehensive, uses discipline-neutral terminology, is applicable to all disciplines, defines specific cognitive skills including metacognition, and offers high quality resources.

Why the selection of a single critical thinking framework?

The use of a single critical thinking framework is an important aspect of institution-wide critical thinking initiatives (Paul and Nosich, 1993; Paul, 2004). According to this view, critical thinking instruction should not be relegated to one or two disciplines or departments with discipline specific language and conceptualizations. Rather, critical thinking instruction should be explicitly infused in all courses so that critical thinking skills can be developed and reinforced in student learning across the curriculum. The use of a common approach with a common language allows for a central organizer and for the development of critical thinking skill sets in all courses.

SACS & QEP
Planning and Implementation
Why Focus on Critical Thinking?
Paul-Elder Critical Thinking Framework
Culminating Undergraduate Experience
Community Engagement
Frequently Asked Questions
What is i2a?

Critical Thinking with Literature: It’s Problem-Solving

By Sharon Crowley
June 29, 2015

Critical thinking tops the list of skills students need for success in the complex 21st century. When it comes to science and math, most people equate critical thinking with problem solving. In those content areas, students apply their understanding of basic concepts to a task for which the solution is not known in advance. By grappling with a challenging problem, students extend their learning. Critical thinking about literature is not so different. With a written work, the problem or task is often an open-ended, text-based question. Students use their comprehension of the text to develop interpretations—or solutions to the problem.

If you want your students to engage in higher-order thinking as they read and discuss literature, include these key elements of problem-solving activities:

Genuine, intriguing questions. To think critically, there must be something to think critically about. With literature, it’s a text that leaves your students puzzling and asking questions about a character, event, symbol, or structure. Predictable or moralistic texts with flat characters don’t generate intriguing questions. When texts are sufficiently complex, the questions that spring from them present engaging problems.

Divergent answers. Just as genuine problems in math or science allow for multiple strategies and solutions, a discussion-worthy question about a piece of literature should invite multiple interpretations or answers. In Shared Inquiry discussions, considering divergent ideas is what drives students to find deeper meaning in a text.

Ample evidence. As in math or science, for an answer or solution to be sound, there must be relevant reasons behind it. Likewise, ideas about the meaning of literary texts must be supported with the evidence from the work itself. Evidence and reasoning make ideas valid and debatable. Without evidence, ideas are simply guesses.

Opportunities to evaluate evidence. Some pieces of scientific or mathematical data are more compelling than others. The same is true when exploring a question about a rich work of literature. Collaborative discussion is a time for participants to share the evidence that supports their ideas, to weigh that evidence, and to strengthen ideas by debating each other’s assertions or suggesting additional evidence.

Collaboration. A good discussion question, or problem, is one that students want to work on together. Just as students benefit from combining their skills and perspectives when solving a math or science problem, discussing an interpretive question as a group yields more thoughtful and considered answers than if students had worked alone. Follow-up questions that ask students to clarify, elaborate, and explain their ideas help deepen and enliven the conversation.

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Why Write Literary Criticism?

People have been telling stories and sharing responses to stories since the beginning of time. By reading and discussing literature, we expand our imagination, our sense of what is possible, and our ability to empathize with others. Reading and discussing literature can enhance our ability to write. It can sharpen our critical faculties, enabling us to assess works and better understand why literature can have such a powerful effect on our lives.

"Literary texts" include works of fiction and poetry. In school, English instructors ask students to critique literary texts, or works. Literary criticism refers to a genre of writing whereby an author critiques a literary text, either a work of fiction, a play, or poetry. Alternatively, some works of literary criticism address how a particular theory of interpretation informs a reading of a work or refutes some other critics’ reading of a work.

Diverse Rhetorical Situations

The genre of literary interpretation is more specialized than most of the other genres addressed in this section, as suggested by the table below. People may discuss their reactions to literary works informally (at coffee houses, book clubs, or the gym) but the lion's share of literary criticism takes place more formally: in college classrooms, professional journals, academic magazines, and websites.

Students interpret literary works for English instructors or for students enrolled in English classes. In their interpretations, students may argue for a particular interpretation or they may dispute other critics' interpretations. Alternatively, students may read a text with a particular literary theory in mind, using the theory to explicate a particular point of view. For example, writers could critique "The Story of an Hour" by Kate Chopin from a feminist theoretical perspective. Thanks to the Internet, some English classes are now publishing students' interpretations on websites. In turn, some students and English faculty publish their work in academic literary criticism journals.

Over the years, literary critics have argued about the best ways to interpret literature. Accordingly, many "schools" or "theories of criticism" have emerged. As you can imagine—given that they were developed by sophisticated specialists—some of these theoretical approaches are quite sophisticated and abstract.

Below is a summary of some of the more popular literary theories. Because it is a summary, the following tends to oversimplify the theories. In any case, unless you are enrolled in a literary criticism course, you won't need to learn the particulars of all of these approaches. Instead, your teacher may ask you to take an eclectic approach, pulling interpretative questions from multiple literary theories.

Note : If you are interested in learning more about these theories, review either Skylar Hamilton Burris' "Literary Criticism: An Overview of Approaches" or Dino F. Felluga’s "Undergraduate Guide to Critical Theory."

Schools of Literary Criticism
New Criticism : Focuses on "objectively" evaluating the text, identifying its underlying form. May study, for example, a text's use of imagery, metaphor, or symbolism. Isn't concerned with matters outside the text, such as biographical or contextual information. Online examples: " A Formalist Reading of Sandra Cisneros’s 'Woman Hollering Creek' " and " Sound in William Shakespeare's 'Tempest': A Formalist Approach " by Skylar Hamilton Burris
Reader-Response: Criticism focuses on each reader's personal reactions to a text, assuming meaning is created by a reader's or interpretive community's personal interaction with a text. Assumes no single, correct, universal meaning exists because meaning resides in the minds of readers. Online example: " Theodore Roethke’s 'My Papa’s Waltz': A Reader's Response " (PDF)
Feminism: Criticism Focuses on understanding ways gender roles are reflected or contradicted by texts, how dominance and submission play out in texts, and how gender roles evolve in texts. Online Example: " 'The Yellow Wall-Paper': A Twist on Conventional Symbols " by Liselle Sant, " Kate Chopin as Feminist: Subverting the French Androcentric Influence " by Jane Le Marquand
New Historicism: Focuses on understanding texts by viewing texts in the context of other texts. Seeks to understand economic, social, and political influences on texts. Tend to broadly define the term "text," so, for example, the Catholic Church could be defined as a "text." May adopt the perspectives of other interpretive communities—particularly reader-response criticism, feminist criticism, and Marxist approaches—to interpret texts. Online example: " Monstrous Acts and Little Murders " by Jonathan Lethem
Media Criticism: Focuses on writers' use of multimedia and hypertexts. Online example: The Electronic Labyrinth by Christopher Keep, Tim McLaughlin, and Robin Parmar
Psychoanalytical Criticism: Focuses on psychological dimensions of the work.
Marxist Criticism: Focuses on ways texts reflect, reinforce, or challenge the effects of class, power relations, and social roles. Online example: "A Marxist/Feminist Reading of Shirley Jackson’s 'The Lottery'" by Peter Kosenko
Archetypal Criticism: Focuses on identifying the underlying myths in stories and archetypes, which reflect what the psychologist Carl Jung called the "collective unconsciousness." Online example: " A Symbolic Approach to Kate Chopin's 'The Awakening' " by Skylar Hamilton Burris
Postcolonial Criticism: Focuses on how Western culture's (mis)representation of third-world countries and peoples in stories, myths, and stereotypical images encourages repression and domination. Online example: Other Voices: The eJournal of Cultural Criticism
Structuralism/Semiotics: Focuses on literature as a system of signs where meaning is constructed in a context, where words are inscribed with meaning by being compared to other words and structures.
Post-Structuralism/Deconstruction: Focuses, along with Structuralism, on viewing literature as a system of signs, yet rejects the Structuralist view that a critic can identify the inherent meaning of a text, suggesting, instead that literature has no center, no single interpretation, that literary language is inherently ambiguous

Powerful works of literature invoke multiple readings. In other words, we can all read the same story or poem (or watch the same movie or listen to the same song) and come up with different, even conflicting, interpretations about what the work means. Who we are reflects how we read texts. Our experiences inspire us to relate to and sympathize with characters and difficult situations. Have we read similar stories? Have we actually faced some of the same challenges the characters in the story face?

In addition, literary theories have unique ways to develop and substantiate arguments. Some theories draw extensively on the work of other critics, while others concentrate on the reader's thoughts and feelings. Some theories analyze a work from an historical perspective, while others focus solely on a close reading of a text.

Accordingly, as with other genres, the following key features need to be read as points of departure as opposed to a comprehensive blueprint:

Examine a subject from a rhetorical perspective. Identify the intended audience, purpose, context, media, voice, tone, and persona. Distinguish between summarizing the literary work and presenting your argument. Many students fall into the trap of spending too much time summarizing the literature being analyzed as opposed to critiquing it. As a result, it would be wise to check with your teacher regarding how much plot summary is expected. As you approach this project, remember to keep your eye on the ball: What, exactly (in one sentence) is the gist of your interpretation?

Development

You can develop your ideas by researching the work of other literary critics. How do other critics evaluate an author's work? What literary theories do literary critics use to interpret texts or particular moments in history? Reading sample proposals can help you find and adopt an appropriate voice and persona. By reading samples, you can learn how others have prioritized particular criteria.

Below are some of the questions invoked by popular literary theories. Consider these questions as you read a work, perhaps taking notes on your thoughts as you reread. You may focus on using one theory to "read and interpret" text or, more commonly, you may compare the critical concerns of different theories.

New Criticism/Formalism

Character: How does the character evolve during the story? What is unique or interesting about a character? Is the character a stereotypical action hero, a patriarchal father figure, or Madonna? How does a character interact with other characters?
Setting: How does the setting enhance tension within the work? Do any elements in the setting foreshadow the conclusion of the piece?
Plot: What is the conflict? How do scenes lead to a suspenseful resolution? What scenes make the plot unusual, unexpected, suspenseful?
Point of View: Who is telling the story? Is the narrator omniscient (all knowing) or does the narrator have limited understanding?

Reader-Response Criticism

How does the text make you feel? What memories or experiences come to mind when you read? If you were the central protagonist, would you have behaved differently? Why? What values or ethics do you believe are suggested by the story? As your reading of a text progresses, what surprises you, inspires you?

Feminist Criticism

How does the story re-inscribe or contradict traditional gender roles? For example, are the male characters in "power positions" while the women are "dominated"? Are the men prone to action, decisiveness, and leadership while the female characters are passive, subordinate? Do gender roles create tension within the story? Do characters' gender roles evolve over the course of the narrative?

New Historicism Criticism

How does the story reflect the aspirations and conditions of the lower classes or upper classes? Is tension created by juxtaposing privileged, powerful positions to subordinated, dominated positions? What information about the historical context of the story helps explain the character;s motivations? Who benefits from the outcome of the story or from a given character's motivation?

Media Criticism

How does the medium alter readers' interactions with the text? Has the reader employed multimedia or hypertext? What traditions from print and page design have shaped the structure of the text? In what ways has the author deviated from traditional, deductively organized linear texts?

Cite from the Work

Literary criticism involves close reading of a literary work, regardless of whether you are arguing about a particular interpretation, comparing stories or poems, or using a theory to interpret literature. Do not summarize the story. The purpose of the document is not to inform the readers, but to argue a particular interpretation. You only need to cite parts of the work that support or relate to your argument and follow the citation format required by your instructor (see Using and Citing Sources).

Below is an example from "Sample Essays for English 103: Introduction to Fiction," Professor Matthew Hurt. Note how the writer uses block quotes to highlight key elements and paraphrase and summarizes the original works, using quotation marks where necessary.

"…Twain offers a long descriptive passage of Huck and Jim’s life on the raft that seems, at first glance, to celebrate the idyllic freedom symbolized by the river and nature. . . A close reading of this passage, however, shows that the river is not a privileged natural space outside of and uncontaminated by society, but is inextricably linked to the social world on the shore, which itself has positive value for Huck. Instead of seeking to escape society, Huck wants to escape the dull routines of life."

The passage abounds with lyrical descriptions of the river's natural beauty. For example, Huck's long description of the sunrise over the river captures the peaceful stillness and the visual beauty of the scene:

"The first thing to see, looking away over the water, was a kind of dull line — that was the woods on t'other side — you couldn't make nothing else out; then a pale place in the sky; then more paleness, spreading around; then the river softened up, away off, and warn't black any more, but gray; . . . sometimes you could hear a sweep screaking; or jumbled up voices, it was so still, and sounds come so far; and by-and-by you could see a streak on the water which you know by the look of the streak that there's a snag there in the swift current which breaks on it and makes the streak look that way; and you see the mist curl up off of the water, and the east reddens up, and the river, and you make out a log cabin in the edge of the woods, away on the bank on t'other side of the river, . . . then the nice breeze springs up, and comes fanning you from over there, so cool and fresh, and sweet to smell, on account of the woods and the flowers; . . . and next you've got the full day, and everything smiling in the sun, and the song-birds just going at it!" (129-130)

Here Huck celebrates the beauty of the natural world coming to life at the beginning of a new day. The "paleness" gradually spreading across the sky makes new objects visible which he describes in loving detail for the reader. The "nice breeze" is "cool and fresh" and "sweet to smell," and the world seems to be "smiling in the sun" as the song-birds welcome the new day.

However, Huck includes a number of details within this passage that would seem to work against the language of natural beauty. After describing the gradually brightening sky, Huck notes that "you could see little dark spots drifting along, ever so far away — trading scows, and such things; and long black streaks — rafts." The sun rise reveals not only natural objects (the brightening sky, the "snag," the "mist"), but also brings into view man-made objects ("trading scows" and "rafts") that signify human society's presence in this natural environment. Similarly, Huck speculates that the picturesque "log cabin" on the distant shore is a "woodyard, likely, and piled by them cheats so you can throw a dog through it anywheres." Here the marker of human society takes on a sinister tone of corruption as Huck describes how unscrupulous wood sellers stack wood loosely to cheat their customers. Finally, although the breeze is "sweet to smell," Huck assures the reader that this isn’t always the case: "but sometimes not that way, because they've left dead fish laying around, gars, and such, and they do get pretty rank."

These signs of society's presence on the river are largely negative. The woodyard is "piled by cheats" and the stacked fish pollute the "sweet" smell of the breeze. At this point, the opposition between "good nature" and "bad society" remains intact. The signs of human presence suggest a corruption of nature's beauty. In the paragraphs that follow, however, this opposition is subtly reversed. After Huck's account of the sunrise over the river, he describes how he and Jim watch the steamboats "coughing along up stream." But when there are no steamboats or rafts to watch, he describes the scene as "solid lonesomeness" (130). No songbirds, no sweet breezes. Without human activities to watch, the scene suddenly becomes empty and "lonesome," and nothing captures Huck's attention until more rafts and boats pass by and he can watch them chopping wood or listen to them beating pans in the fog.

Cite Other Critics' Interpretations of the Work

Criticism written by advanced English majors, graduate students, and literary critics may be more about what other critics have said than about the actual text. Indeed, many critics spend more time reading criticism and arguing about critical approaches than actually reading original works. However, unless you are enrolled in a literary theory course, your instructor probably wants you to focus more on interpreting the work than discussing other critical interpretations. This does not mean, however, that you should write about a literary work "blindly." Instead, you are wise to find out what other students and critics have said about the work.

Below is a sample passage that illustrates how other critics' works can inspire an author and guide him or her in constructing a counter argument, support an author's interpretation, and provide helpful biographical information.

In her critical biography of Shirley Jackson, Lenemaja Friedman notes that when Shirley Jackson's story "The Lottery" was published in the June 28, 1948 issue of the New Yorker it received a response that "no New Yorker story had ever received": hundreds of letters poured in that were characterized by "bewilderment, speculation, and old-fashioned abuse."1 It is not hard to account for this response: Jackson's story portrays an "average" New England village with "average" citizens engaged in a deadly rite, the annual selection of a sacrificial victim by means of a public lottery, and does so quite deviously: not until well along in the story do we suspect that the "winner" will be stoned to death by the rest of the villagers.

Organization

The format for literary critiques is fairly standard:

State your claim(s).
Forecast your organization.
Marshal evidence for your claim.
Reiterate argument and elaborate on its significance.

In English classes, you may be able to assume that your readers are familiar with the work you are critiquing. Perhaps, for example, the entire class is responding to one particular work after some class discussions about it. However, if your instructor asks you to address a broader audience, you may need to provide bibliographical information for the work. In other words, you may need to cite the title, publisher, date, and pages of the work (see Citing Sources).

Literary critiques are arguments. As such, your instructors expect you to state a claim in your introduction and then provide quotes and paraphrased statements from the text to serve as evidence for your claim. Ideally, your critique will be insightful and interesting. You'll want to come up with an interpretation that isn’t immediately obvious. Below are some examples of "thesis statements" or "claims" from literary critiques:

In "The Yellow Wallpaper," by Charlotte Perkins Gilman, the protagonist is oppressed and represents the effect of the oppression of women in society. This effect is created by the use of complex symbols such as the house, the window, and the wall-paper which facilitate her oppression as well as her self expression. ["'The Yellow Wall-Paper': A Twist on Conventional Symbols" by Liselle Sant]
"The Yellow Wallpaper" by Charlotte Gilman is a sad story of the repression that women face in the days of the late 1800's as well as being representative of the turmoil that women face today. [Critique of "The Yellow Wallpaper" by Brandi Mahon]
"The Yellow Wallpaper," written by Charlotte Perkins Gilman, is a story of a woman, her psychological difficulties and her husband's so called therapeutic treatment of her aliments during the late 1800s. . . Gilman does well throughout the story to show with descriptive phrases just how easily and effectively the man "seemingly" wields his "maleness" to control the woman. But, with further interpretation and insight I believe Gilman succeeds in nothing more than showing the weakness of women, of the day, as active persons in their own as well as society's decision making processes instead of the strength of men as women dominating machines. ["The View from the Inside" by Timothy J. Decker]
In Adventures of Huckleberry Finn , Mark Twain creates a strong opposition between the freedom of Huck and Jim's life on the raft drifting down the Mississippi River, which represents "nature," and the confining and restrictive life on the shore, which represents "society." ["'All I wanted was a change': Positive Images of Nature and Society in Chapter 19 of Adventures of Huckleberry Finn " from Professor Matthew Hurt's "Sample Essays for English 103: Introduction to Fiction"]
In Gabriel Garcia Marquez's short story, "A Very Old Man with Enormous Wings," an unexpected visitor comes down from the sky, and seems to test the faith of a community. The villagers have a difficult time figuring out just how the very old man with enormous wings fits into their lives. Because this character does not agree with their conception of what an angel should look like, they try to determine if the aged man could actually be an angel. In trying to prove the origin of their visitor, the villagers lose faith in the possibility of him being an angel because he does not adhere to their ordered world. Marquez keeps the identity of the very old man with enormous wings ambiguous to critique the villagers and, more generally, organized religion for having a lack of faith to believe in miracles that do not comply with their master narrative. ["Prove It: A Critique of the Villagers' Faith in 'A Very Old Man with Enormous Wings'" from "Sample Essays for English 103: Introduction to Fiction," Professor Matthew Hurt]

Literary criticism is a fairly specialized kind of writing. Instead of writing to a general lay audience, you are writing to members of a literary community who have read a work and who developed opinions about the work — as well as a vocabulary of interpretation.

Following are some common words used by literary critics. More specialized terms can be learned by reading criticism or by referring to a good encyclopedia for criticism or writing, including the Writer’s Encyclopedia :

Protagonist: The protagonist is the major character of the story; typically the character must overcome significant challenges.
Antagonist: The protagonist's chief nemesis; in other words, the character whom the protagonist must overcome.
Symbols: Metaphoric language; see "'A Symbolic Approach to Kate Chopin's 'The Awakening'"
Viewpoint: Stories are told either in the first-person or third-person point of view. The first person is limited to a single character, although dialog can let you guess at other characters' intentions. The third person allows readers inside the character's mind so you know what the character feels and thinks. Viewpoint can be "limited," where the character knows less than the reader, or "omniscient," where the reader can hear the thoughts and feelings of all characters. Occasionally writers will use multiple character viewpoint, which takes you from one character's perspective to another.
Plot: Plots are a series of scenes, typically moving from a conflict situation to a resolution. To surprise readers, authors will foreshadow "false plants," which lead readers to anticipate other resolutions. The term "denouement" refers to the unraveling of the plot in the conclusion.

Contributors and Attributions

Adapted from Literary Criticism in Accelerated English by Ashley Paul, license CC-BY-SA

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Why is critical thinking important?

What do lawyers, accountants, teachers, and doctors all have in common?

Students in the School of Literatures, Languages, Cultures, and Linguistics give a presentation in a classroom in front of a screen

What is critical thinking?

The Oxford English Dictionary defines critical thinking as “The objective, systematic, and rational analysis and evaluation of factual evidence in order to form a judgment on a subject, issue, etc.” Critical thinking involves the use of logic and reasoning to evaluate available facts and/or evidence to come to a conclusion about a certain subject or topic. We use critical thinking every day, from decision-making to problem-solving, in addition to thinking critically in an academic context!

Why is critical thinking important for academic success?

You may be asking “why is critical thinking important for students?” Critical thinking appears in a diverse set of disciplines and impacts students’ learning every day, regardless of major.

Critical thinking skills are often associated with the value of studying the humanities. In majors such as English, students will be presented with a certain text—whether it’s a novel, short story, essay, or even film—and will have to use textual evidence to make an argument and then defend their argument about what they’ve read. However, the importance of critical thinking does not only apply to the humanities. In the social sciences, an economics major , for example, will use what they’ve learned to figure out solutions to issues as varied as land and other natural resource use, to how much people should work, to how to develop human capital through education. Problem-solving and critical thinking go hand in hand. Biology is a popular major within LAS, and graduates of the biology program often pursue careers in the medical sciences. Doctors use critical thinking every day, tapping into the knowledge they acquired from studying the biological sciences to diagnose and treat different diseases and ailments.

Students in the College of LAS take many courses that require critical thinking before they graduate. You may be asked in an Economics class to use statistical data analysis to evaluate the impact on home improvement spending when the Fed increases interest rates (read more about real-world experience with Datathon ). If you’ve ever been asked “How often do you think about the Roman Empire?”, you may find yourself thinking about the Roman Empire more than you thought—maybe in an English course, where you’ll use text from Shakespeare’s Antony and Cleopatra to make an argument about Roman imperial desire. No matter what the context is, critical thinking will be involved in your academic life and can take form in many different ways.

The benefits of critical thinking in everyday life

Building better communication.

One of the most important life skills that students learn as early as elementary school is how to give a presentation. Many classes require students to give presentations, because being well-spoken is a key skill in effective communication. This is where critical thinking benefits come into play: using the skills you’ve learned, you’ll be able to gather the information needed for your presentation, narrow down what information is most relevant, and communicate it in an engaging way.

Typically, the first step in creating a presentation is choosing a topic. For example, your professor might assign a presentation on the Gilded Age and provide a list of figures from the 1870s—1890s to choose from. You’ll use your critical thinking skills to narrow down your choices. You may ask yourself:

What figure am I most familiar with?
Who am I most interested in?
Will I have to do additional research?

After choosing your topic, your professor will usually ask a guiding question to help you form a thesis: an argument that is backed up with evidence. Critical thinking benefits this process by allowing you to focus on the information that is most relevant in support of your argument. By focusing on the strongest evidence, you will communicate your thesis clearly.

Finally, once you’ve finished gathering information, you will begin putting your presentation together. Creating a presentation requires a balance of text and visuals. Graphs and tables are popular visuals in STEM-based projects, but digital images and graphics are effective as well. Critical thinking benefits this process because the right images and visuals create a more dynamic experience for the audience, giving them the opportunity to engage with the material.

Presentation skills go beyond the classroom. Students at the University of Illinois will often participate in summer internships to get professional experience before graduation. Many summer interns are required to present about their experience and what they learned at the end of the internship. Jobs frequently also require employees to create presentations of some kind—whether it’s an advertising pitch to win an account from a potential client, or quarterly reporting, giving a presentation is a life skill that directly relates to critical thinking.

Fostering independence and confidence

An important life skill many people start learning as college students and then finessing once they enter the “adult world” is how to budget. There will be many different expenses to keep track of, including rent, bills, car payments, and groceries, just to name a few! After developing your critical thinking skills, you’ll put them to use to consider your salary and budget your expenses accordingly. Here’s an example:

You earn a salary of $75,000 a year. Assume all amounts are before taxes.
1,800 x 12 = 21,600
75,000 – 21,600 = 53,400
This leaves you with $53,400
320 x 12 = 3,840 a year
53,400-3,840= 49,560
726 x 12 = 8,712
49,560 – 8,712= 40,848
You’re left with $40,848 for miscellaneous expenses. You use your critical thinking skills to decide what to do with your $40,848. You think ahead towards your retirement and decide to put $500 a month into a Roth IRA, leaving $34,848. Since you love coffee, you try to figure out if you can afford a daily coffee run. On average, a cup of coffee will cost you $7. 7 x 365 = $2,555 a year for coffee. 34,848 – 2,555 = 32,293
You have $32,293 left. You will use your critical thinking skills to figure out how much you would want to put into savings, how much you want to save to treat yourself from time to time, and how much you want to put aside for emergency funds. With the benefits of critical thinking, you will be well-equipped to budget your lifestyle once you enter the working world.

Enhancing decision-making skills

Choosing the right university for you.

One of the biggest decisions you’ll make in your life is what college or university to go to. There are many factors to consider when making this decision, and critical thinking importance will come into play when determining these factors.

Many high school seniors apply to colleges with the hope of being accepted into a certain program, whether it’s biology, psychology, political science, English, or something else entirely. Some students apply with certain schools in mind due to overall rankings. Students also consider the campus a school is set in. While some universities such as the University of Illinois are nestled within college towns, New York University is right in Manhattan, in a big city setting. Some students dream of going to large universities, and other students prefer smaller schools. The diversity of a university’s student body is also a key consideration. For many 17- and 18-year-olds, college is a time to meet peers from diverse racial and socio-economic backgrounds and learn about life experiences different than one’s own.

With all these factors in mind, you’ll use critical thinking to decide which are most important to you—and which school is the right fit for you.

Develop your critical thinking skills at the University of Illinois

At the University of Illinois, not only will you learn how to think critically, but you will put critical thinking into practice. In the College of LAS, you can choose from 70+ majors where you will learn the importance and benefits of critical thinking skills. The College of Liberal Arts & Sciences at U of I offers a wide range of undergraduate and graduate programs in life, physical, and mathematical sciences; humanities; and social and behavioral sciences. No matter which program you choose, you will develop critical thinking skills as you go through your courses in the major of your choice. And in those courses, the first question your professors may ask you is, “What is the goal of critical thinking?” You will be able to respond with confidence that the goal of critical thinking is to help shape people into more informed, more thoughtful members of society.

With such a vast representation of disciplines, an education in the College of LAS will prepare you for a career where you will apply critical thinking skills to real life, both in and outside of the classroom, from your undergraduate experience to your professional career. If you’re interested in becoming a part of a diverse set of students and developing skills for lifelong success, apply to LAS today!

Read more first-hand stories from our amazing students at the LAS Insider blog .

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Critical Thinking Skills
Critical Thinking Skills: Definitions, Examples, and How to Improve
Unleashing Potential: How STEM Education Enhances Critical Thinking Skills
6 Main Types of Critical Thinking Skills (With Examples)
5+ Critical Thinking Strategies for your Essay (2023)
ULTIMATE CRITICAL THINKING CHEAT SHEET Published 01/19/2017 Infographic

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Critical thinking movie
Denise Cassano Presents: Crossroads Video Writing Prompt
The Art of Critical Thinking By Sheikh Imran Hosein
Essay on The Importance of Critical Thinking Skills in Education
Критическое мышление 2-3 Круги ада, вытеснения воспоминаний, дело Макарова, Лоботомия
Critical Thinking: an introduction (1/8)

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What Is Critical Thinking?
Critical thinking is the ability to effectively analyze information and form a judgment. To think critically, you must be aware of your own biases and assumptions when encountering information, and apply consistent standards when evaluating sources. Critical thinking skills help you to: Identify credible sources. Evaluate and respond to arguments.
Writing and Critical Thinking Through Literature (Ringo and Kashyap
No headers. This text offers instruction in analytical, critical, and argumentative writing, critical thinking, research strategies, information literacy, and proper documentation through the study of literary works from major genres, while developing students' close reading skills and promoting an appreciation of the aesthetic qualities of literature.
[PDF] Critical Thinking : A Literature
Critical Thinking : A Literature. Critical thinking includes the component skills of analyzing arguments, making inferences using inductive or deductive reasoning, judging or evaluating, and making decisions or solving problems. Background knowledge is a necessary but not a sufficient condition for enabling critical thought within a given subject.
Bridging critical thinking and transformative learning: The role of
Most critical thinking researchers agree that open-mindedness is a component of critical thinking (Ennis, 2018; Facione et al., 1994; Perkins et al., 1993). Arguably, William Hare's account of open-mindedness has been the most influential within the critical thinking literature.
1.1: What is Literature?
Literature is art, but with words. While the artist uses different colors, paintbrushes, mediums, canvases, and techniques, the writer uses different genres and literary techniques called literary devices. Just like different types of paint, paintbrushes, and artistic tools, there are literally hundreds of literary devices, but some of the most ...
Introduction to Literature and Critical Thinking
10: Literary Devices Glossary Back Matter Introduction to Literature and Critical Thinking is shared under a not declared license and was authored, remixed, and/or curated by Christina Lopez-Bolin.
Unit 5: Facilitating Critical Thinking through Literature
Literature is an effective tool for engaging students in critical thinking. By teaching children to analyse and evaluate literary texts appropriate to their age and interests, we can help them develop critical thinking skills. ... In terms of school students reading a literary text, critical thinking would involve asking why or how questions ...
PDF The Teaching of Critical Thinking Through Literature
Perceiving, through literature is not critical thinking. as being open to different beliefs and situa- Critical thinking attempts to justify cer- tions, is an important quality to develop tain claims. To teach children about human in fostering critical thinking. But perceiving compassion and courage is not a form of alone is not a critical ...
Critical Literacy
In Australia, critical materials were created, in the form of workbooks, to deconstruct literary texts (Mellor, Patterson, & O'Neill, 1987, 1991). ... which focused on critical thinking and reasoning, and "critical" from Marx as an analysis of power. The debate and controversy around this continues.
Critical Thinking through Literature: A Dialogue Teaching Model
both literature and critical thinking. Students are not told what to think; they decide for themselves through discourse and reflection. In the process of teaching literature and critical thinking, the Dialogue Teaching Model encourages effective speech, attentive listening, improved writing ski! Is, and autonomy of thought.
What is Critical Thinking?
Critical thinking is the intellectually disciplined process of actively and skillfully conceptualizing, applying, analyzing, synthesizing, and/or evaluating information gathered from, or generated by, observation, experience, reflection, reasoning, or communication, as a guide to belief and action. Paul and Scriven go on to suggest that ...
Critical Thinking with Literature: It's Problem-Solving
Critical thinking tops the list of skills students need for success in the complex 21st century. When it comes to science and math, most people equate critical thinking with problem solving. ... Critical thinking about literature is not so different. With a written work, the problem or task is often an open-ended, text-based question. Students ...
Developing Critical Thinking through Literature Reading
Developing Critical Thinking t hrough Literature Reading 293. (1956) 20—knowledge and comprehension—as they fail to reflect and examine their. beliefs and actions. To initiate them into higher ...
What Are Critical Thinking Skills and Why Are They Important?
According to the University of the People in California, having critical thinking skills is important because they are [ 1 ]: Universal. Crucial for the economy. Essential for improving language and presentation skills. Very helpful in promoting creativity. Important for self-reflection.
PDF Teaching Critical Thinking Skills: Literature Review
purposeful, reasoned and goal directed'. Halpren (1997, p. 4) states, 'Critical thinking is purposeful, reasoned, and goal-directed. It is the kind of thinking involved in solving problems, formulating inferences, calculating likelihoods, and making decisions. Critical thinkers use these skills appropriately, without prompting, and
10.1: Literary Criticism
Literary criticism refers to a genre of writing whereby an author critiques a literary text, either a work of fiction, a play, or poetry. Alternatively, some works of literary criticism address how a particular theory of interpretation informs a reading of a work or refutes some other critics' reading of a work.
Critical Literacy in Practice: How Educators Leverage Supports and
Critical literacy—which I define as a lens for reading, interpreting, and creating texts that suggests that no text is neutral, no person is neutral, and therefore the reading and writing of texts are never neutral activities (Brannon et al., 2010; Vasquez et al., 2019)—is important in that it allows students to be more conscious and informed when it comes to the multitude of text types ...
Critical Analysis: The Often-Missing Step in Conducting Literature
Literature reviews are essential in moving our evidence-base forward. "A literature review makes a significant contribution when the authors add to the body of knowledge through providing new insights" (Bearman, 2016, p. 383).Although there are many methods for conducting a literature review (e.g., systematic review, scoping review, qualitative synthesis), some commonalities in ...
Developing Critical Thinking Through the Teaching of Literature
It is the kind of thinking which is involved in solving problems- formulating inferences, calculating likelihoods, and making decisions.The purpose of this article is to show that literary work can be used to develop critical thinking and at the same time is able to improve the students' English proficiency.
(PDF) Teaching Critical Thinking Skills: Literature Review
Critical Thinking (CT) has been recognized as one of the most important thinking skills and one of the most important indicators of student learning quality. In order to develop successful ...
PDF Critical thinking: A literature review
the definition of critical thinking. The purposes of this literature review are to (a) explore the. ways in which critical thinking has been defined by researchers, (b) investigate how critical. thinking develops (c) learn how teachers can encourage the development of critical thinking.
PDF MEASURING STUDENT SUCCESS SKILLS: A REVIEW OF THE LITERATURE ON ...
The critical thinking literature is rooted in three fields: psychology, philosophy, and education (Lewis & Smith, 1993; Sternberg, 1986). These disciplines reflect different approaches for defining critical thinking. The psychological tradition emphasizes mastery of discrete skills and dispositions that generalize across
Why is critical thinking important?
The benefits of critical thinking in everyday life Building better communication. One of the most important life skills that students learn as early as elementary school is how to give a presentation. Many classes require students to give presentations, because being well-spoken is a key skill in effective communication. This is where critical ...
Critical thinking in the preschool classroom
Literature on critical thinking spans the disciplines of philosophy, psychology, and education (see e.g., Lia, 2011). While definitions of critical thinking sometimes overlap across disciplines, this review will focus on the field of education. More specifically, the focus of this review is on critical thinking in early childhood education ...