Using a gender frame, I will ask how a text reinforces, critiques, or challenges definitions of of masculinity or femininity.
Because writing (and interpretation) has been dominated by men and masculine perceptions, I am committed to creating a feminine/feminist
way of writing and reading.
I will recognize and examine the essential differences between men and women in social behavior, ideas, and values.
I will remind you that stereotyping is dangerous and can lead to destructive social norms.

gender roles, objectivity, representation

I like to explore how a text reflects the experience, beliefs, and understandings of its reader.
I will move through a text carefully and slowly, describing the response of an informed reader at various points, and I'll note changes in response.
I will describe my own responses to the text, using evidence and explanation. I also ask you to describe your response to the text.
I usually react to the text as a whole, expressing the subjective and personal response it engenders.

effect, personal reflection, description

I will show how any text comments on or represents class conflict.
I will show that the way people think and behave is determined by basic economic factors.
There no basic difference between dlass conflict and political conflict.
I will show that the wealthy class exploits the working class by forcing their own values and beliefs upon them, usually through control of working conditions and money.
I apply these ideas to the study of literature, which is a product of culture.
and social conflict.

power, economics, class, differences, fairness

I will comment on how a text shows similarities to ancient story designs, character categories, and imagery.
I will highlight how an imaginative work is indebted to ancient systems of meaning, including ritual, mythology, and inherited symbolism (the “collective unconscious”).
For me, there are no new stories.
I will show how conflicts, characters, and symbols in fiction and poetry come from the same place as dreams. and can be interpreted the same way dreams are.

myth, image, dreams, rituals, pattern, model

I  explore how a text reflects the experiences, beliefs, and intentions of its maker(s).
I will remind you that meaning is contextual. 
I will often remind us that writing is a product of social, political, and historical forces.
I will ask how a text reflects the systems of meaning available to the author.
My interpretation of a text will depend of my interpretation of its historical or biographical context.

context, systems of meaning, commentary, society

I organized and edited The New York Times's 1619 Project that commemorates the 400th anniversary of the beginning of slavery in what would become the United States. My co-authors and I examined slavery's modern legacy and we reframed the way we understand this history and the contributions of black Americans to the nation. I stand by my lead essay which says, "Our Democracy's founding ideals were false when they were written. Black Americans have fought to make them true," 

I bring forward the truth we would rather ignore.

By the analyzing a text’s form, I will reveal the meaning of its content.
I will show you how aa text will teach us how to read it; the work itself is all that interests me.
I'm not interested in the author’s intentions.
I will be looking for as many ambiguities, ironies, and complexities that I can resolve through careful analysis of a text's form.
I will be looking for a unifying theme to emerge from a complex work.

form, unity, ambiguity, resolution, pattern

I was born and raised in Oakland, then worked oﬀ and on for 8 years in the mental health department at the Native American Health Center there. I found that there was very little in literature about Oakland, and almost nothing about Native people living in cities. In fact, the Native fiction I read made me feel less Native, or more alone, because it was about reservation life. Working in the Native community in Oakland, I found that the stories of the people I knew were not represented anywhere.

I want to represent a range of human experience.

Ways to do this: Consider the situation you are in. How does it make you feel? How might you manage those feelings so that you can take appropriate action? Count to 3 before adding your ideas to the conversation. That way if the person wants to finish a thought they have space to do so. Remind yourself that how you are feeling does not need to be acted on. Name the emotion. Be aware of the impact of your impulse to act and yourself slow down before responding.  Stop and think before you act.

remaining calm, thoughtful, and deliberative

I am passionate about health equity and I have often raised by voice for telehealth expansion, primary care operations and redesign, improving the digital divide, and championing anti-racism and health equity efforts during the COVID-19 pandemic. I'm the he lead author on a seminal 2020 article in Health Affairs on making anti-racism a core value in academic medicine, and I delivered my first Tedx Talk in October 2020, Do No Harm: Combating Racism and Place-ism in Medicine.

healthcare transformation, technology & innovation

Ian Urbina is an American investigative reporter and the director and founder of The Outlaw Ocean Project, a non-profit journalism organization based in Washington D.C. that produces investigative stories about human rights, environment and labor concerns on the two thirds of the planet covered by water.
Urbina has spent roughly 17 years as a staff reporter for The New York Times[1], where he has received various journalism awards.