Group items matching

in title, tags, annotations or url

apply knowledge of language structure, language conventions (e.g., spelling and punctuation)"

language use, patterns, and dialects

Students benefit much more from learning a few grammar keys thoroughly than from trying to remember many terms and rules.

Experiment with different approaches

show students how to apply it not only to their writing but also to their reading and to their other language arts activities.

If they know how to find the main verb and the subject, they have a better chance of figuring out a difficult sentenc

Traditional drill and practice will be the most meaningful to students when they are anchored in the context of writing assignments or the study of literary models

apply it to authentic texts.

Try using texts of different kinds, such as newspapers and the students' own writing, as sources for grammar examples and exercises.

entence combining: students start with simple exercises in inserting phrases and combining sentences and progress towards exercises in embedding one clause in another.

practice using certain subordinate constructions that enrich sentences.

All native speakers of a language have more grammar in their heads than any grammar book

If a word can be made plural or possessive, or if it fits in the sentence "The _______ went there," it is a noun. If a word can be made past, or can take an -ing ending, it is a verb

whole sentence or a fragment

verb phrase

subject

pronoun f

Students can circle the sentence subjects in a published paragraph, observe this pattern at work, and then apply it to their own writing.  

Most sentences start with information that is already familiar to the reader, such as a pronoun or a subject noun that was mentioned earlier.

end focus.

tiring work for the kids

dives into the packet

It's a way of labeling books based on the skill needed to read them.

kids here have leveled libraries

counterbalance to the tough stuff

seems to engage the kids

d. Or, to

We attended church at the Grace & Truth Gospel Hall on 14th Avenue South, where a preacher clutched his suspenders and spoke glowingly of Eternity, and I grew up one of the Brethren, the Chosen to whom God had vouchsafed the Knowledge of All Things that was denied to the great and mighty. The Second Coming was imminent, we would rise to the sky. We walked around Minneapolis carefully, wary of television, dance music, tobacco, baubles, bangles, flashy cars, liquor, the theater, the modern novel—all of them tempting us away from the singular life that Jesus commanded us to lead.

For days after Frankie drowned, I visited the death scene, trying to imagine what had happened. He was paddling a boat near the shore, and it capsized, and he drowned. I imagined this over and over, imagined myself saving him, imagined the vast gratitude of his family. I don’t recall discussing this with other boys. We were more interested in what lay ahead in seventh grade, where (we had heard) you had to take showers after gym. Naked. With no clothes on. Which turned out to be true. Junior high was up the West River Road in Anoka, the town where I was born, 1942, in a house on Ferry Street, delivered by Dr. Mork. That fall of seventh grade, he listened to my heart and heard a click in the mitral valve, which meant I couldn’t play football, so I walked into the Anoka Herald and asked for a job covering football and basketball, and a man named Warren Feist said yes and made me a professional writer. Ask and ye shall receive.

(c) In the case of a work lawfully reproduced in useful articles that have been offered for sale or other distribution to the public, copyright does not include any right to prevent the making, distribution, or display of pictures or photographs of such articles in connection with advertisements or commentaries related to the distribution or display of such articles, or in connection with news reports.

(d) (1) In a case in which— (A) a work of visual art has been incorporated in or made part of a building in such a way that removing the work from the building will cause the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), and

(B) the author consented to the installation of the work in the building either before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, or in a written instrument executed on or after such effective date that is signed by the owner of the building and the author and that specifies that installation of the work may subject the work to destruction, distortion, mutilation, or other modification, by reason of its removal,

then the rights conferred by paragraphs (2) and (3) of section 106A (a) shall not apply.

(2) If the owner of a building wishes to remove a work of visual art which is a part of such building and which can be removed from the building without the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), the author’s rights under paragraphs (2) and (3) of section 106A (a) shall apply unless—

(A) the owner has made a diligent, good faith attempt without success to notify the author of the owner’s intended action affecting the work of visual art, or (B) the owner did provide such notice in writing and the person so notified failed, within 90 days after receiving such notice, either to remove the work or to pay for its removal.

For purposes of subparagraph (A), an owner shall be presumed to have made a diligent, good faith attempt to send notice if the owner sent such notice by registered mail to the author at the most recent address of the author that was recorded with the Register of Copyrights pursuant to paragraph (3). If the work is removed at the expense of the author, title to that copy of the work shall be deemed to be in the author.

(3) The Register of Copyrights shall establish a system of records whereby any author of a work of visual art that has been incorporated in or made part of a building, may record his or her identity and address with the Copyright Office. The Register shall also establish procedures under which any such author may update the information so recorded, and procedures under which owners of buildings may record with the Copyright Office evidence of their efforts to comply with this subsection.

(2) shall have the right to prevent the use of his or her name as the author of the work of visual art in the event of a distortion, mutilation, or other modification of the work which would be prejudicial to his or her honor or reputation; and

(3) subject to the limitations set forth in section 113 (d), shall have the right— (A) to prevent any intentional distortion, mutilation, or other modification of that work which would be prejudicial to his or her honor or reputation, and any intentional distortion, mutilation, or modification of that work is a violation of that right, and (B) to prevent any destruction of a work of recognized stature, and any intentional or grossly negligent destruction of that work is a violation of that right.

(b) Scope and Exercise of Rights.— Only the author of a work of visual art has the rights conferred by subsection (a) in that work, whether or not the author is the copyright owner. The authors of a joint work of visual art are coowners of the rights conferred by subsection (a) in that work.

(4) All terms of the rights conferred by subsection (a) run to the end of the calendar year in which they would otherwise expire.

(d) Duration of Rights.— (1) With respect to works of visual art created on or after the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, the rights conferred by subsection (a) shall endure for a term consisting of the life of the author.

(2) With respect to works of visual art created before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, but title to which has not, as of such effective date, been transferred from the author, the rights conferred by subsection (a) shall be coextensive with, and shall expire at the same time as, the rights conferred by section 106.

(3) In the case of a joint work prepared by two or more authors, the rights conferred by subsection (a) shall endure for a term consisting of the life of the last surviving author.

(c) Exceptions.— (1) The modification of a work of visual art which is a result of the passage of time or the inherent nature of the materials is not a distortion, mutilation, or other modification described in subsection (a)(3)(A). (2) The modification of a work of visual art which is the result of conservation, or of the public presentation, including lighting and placement, of the work is not a destruction, distortion, mutilation, or other modification described in subsection (a)(3) unless the modification is caused by gross negligence. (3) The rights described in paragraphs (1) and (2) of subsection (a) shall not apply to any reproduction, depiction, portrayal, or other use of a work in, upon, or in any connection with any item described in subparagraph (A) or (B) of the definition of “work of visual art” in section 101, and any such reproduction, depiction, portrayal, or other use of a work is not a destruction, distortion, mutilation, or other modification described in paragraph (3) of subsection (a).

(e) Transfer and Waiver.— (1) The rights conferred by subsection (a) may not be transferred, but those rights may be waived if the author expressly agrees to such waiver in a written instrument signed by the author. Such instrument shall specifically identify the work, and uses of that work, to which the waiver applies, and the waiver shall apply only to the work and uses so identified. In the case of a joint work prepared by two or more authors, a waiver of rights under this paragraph made by one such author waives such rights for all such authors.

(2) Ownership of the rights conferred by subsection (a) with respect to a work of visual art is distinct from ownership of any copy of that work, or of a copyright or any exclusive right under a copyright in that work. Transfer of ownership of any copy of a work of visual art, or of a copyright or any exclusive right under a copyright, shall not constitute a waiver of the rights conferred by subsection (a). Except as may otherwise be agreed by the author in a written instrument signed by the author, a waiver of the rights conferred by subsection (a) with respect to a work of visual art shall not constitute a transfer of ownership of any copy of that work, or of ownership of a copyright or of any exclusive right under a copyright in that work.