Faced with the difficulties of building to unprecedented heights, the engineers employed an innovative structural model: a rigid "hollow tube" of closely spaced steel columns with floor trusses extended across to a central core. The columns, finished with a silver-colored aluminum alloy, were 18 3/4" wide and set only 22" apart, making the towers appear from afar to have no windows at all.
Group items matching
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Guideline on Some Questions and Answers about Grammar - 36 views
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Grammar names the types of words and word groups that make up sentences not only in English but in any language
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Students benefit much more from learning a few grammar keys thoroughly than from trying to remember many terms and rules.
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show students how to apply it not only to their writing but also to their reading and to their other language arts activities.
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If they know how to find the main verb and the subject, they have a better chance of figuring out a difficult sentenc
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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
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Try using texts of different kinds, such as newspapers and the students' own writing, as sources for grammar examples and exercises.
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entence combining: students start with simple exercises in inserting phrases and combining sentences and progress towards exercises in embedding one clause in another.
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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
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Students can circle the sentence subjects in a published paragraph, observe this pattern at work, and then apply it to their own writing.
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Most sentences start with information that is already familiar to the reader, such as a pronoun or a subject noun that was mentioned earlier.
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General OneFile - Document - Science education and ESL students - 12 views
go.galegroup.com.pearl.stkate.edu/ps/i.do?p=ITOF&u=clic_stkate&id=GALE|A271054015&v=2.1&it=r&sid=summon&userGroup=clic_stkate
science education esl
shared by cphuber on 20 Mar 16
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https://blackboard.sdsu.edu/bbcswebdav/pid-2350009-dt-content-rid-53515116_1/courses/ED... - 14 views
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Introductions - The Writing Center - 68 views
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your introduction should contain a thesis that will assert your main argument. It should also, ideally, give the reader a sense of the kinds of information you will use to make that argument and the general organization of the paragraphs and pages that will follow. After reading your introduction, your readers should not have any major surprises in store when they read the main body of your paper.
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our direct answer to the assigned question will be your thesis, and your thesis will be included in your introduction, so it is a good idea to use the question as a jumping off point.
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Common Core Reading: Difficult, Dahl, Repeat : NPR Ed : NPR - 42 views
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Ms. Wertheimer warms them up with a text-dependent question: "Are all of these native peoples nomadic?"
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"On page 6, paragraph 2," he says, "the first sentence: 'The Haida and Tlingit of the Northwest built permanent wooden homes called longhouses.' "
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seems to engage the kids
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tiring work for the kids
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dives into the packet
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It's a way of labeling books based on the skill needed to read them.
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counterbalance to the tough stuff
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Creative Educator - Build Thinking Skills with Informational Text Projects - 38 views
creativeeducator.tech4learning.com/...th_Informational_Text_Projects
MakingThinkingVisible MTV Engagement creativity commoncore thinking skills projects texts literature
shared by Sharin Tebo on 20 Nov 14
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This informational text piece lends itself to having students create an associative letter project versus a traditional report. In an associative letter project, students are assigned a letter that they must use to find words representing the text they’ve just read. For example, “R is for the Montgomery Bus Boycott” might lead a student to choose words like race, rights, or Rosa as the focus of a variety of paragraphs that describe the Montgomery Bus Boycott.
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By providing students with meaningful, thought-provoking experiences, you can turn informational text study into an exercise in creative and critical thinking!
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Informational text isn’t going to bring about the death of creativity; rather, creativity depends upon what we ask students to do with the text once they’ve read it. If we ask students to read a non-fiction passage then fill out a worksheet about the passage, we are missing a chance to provide our students with an opportunity to create imaginative, artistic end products demonstrating critical thinking skills hard at work.
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Grades 6-8 Exemplar Informational Text: Freedom Walkers, the Story of the Montgomery Bus Boycott, by Russell Freedman Creative Thinking Approach: Associative Letter Project In Freedom Walkers,
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There's No Place Like Home - 22 views
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Superimposed over that geography, like a Jackson Pollock painted on a fishnet, is the geography of a man’s life, the griefs and pleasures of various streets,
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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.
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There were the neon lights of Hennepin Avenue and the promise of naked girls at the Alvin Theater, which our family passed on Sunday morning on our way to church, but that was lost on me, a geek with glasses, pressed pants, plaid shirt, a boy for whom dating girls was like exploring the Amazon—interesting idea, but how to get there? Writing for print, on the other hand—why not? And then came the beautiful connection: You write for print, it impresses girls, they might want to go on dates with you.
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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.
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down to work at 4 a.m. to do the morning shift on KSJN in a basement studio on Wabasha and then a storefront on Sixth Street, the house where I lived next to Luther Seminary and the backyard parties with musicians that inspired A Prairie Home Companion at Macalester College, the dramatic leap to home ownership on Cathedral Hill in St. Paul, where I’ve lived most of the last 20 years, where you drive up from I-94 past Masqueray’s magnificent cathedral, whose great dome and towers and arches give you a momentary illusion of Europe, and up Summit and the mansions of 19th-century grandees and pooh-bahs in a ward that votes about 85 percent Democratic today.
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I drive down Seventh Street to a Twins game and pass the old Dayton’s department store (Macy’s now but still Dayton’s to me), where in my poverty days I shoplifted an unabridged dictionary the size of a suitcase, and 50 years later I still feel the terror of walking out the door with it under my jacket, and I imagine the cops arresting my 20-year-old self and what 30 days in the slammer might’ve done for me
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She was a suicide 28 years ago, drowned with rocks in her pockets, and I still love her and am not over her death, nor do I expect ever to be.
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She says, “Tell me a funny story”—my daughter who never had to fight for a seat. I say, “So ... there were these two penguins standing on an ice floe,” and she says, “Tell the truth,” so I say, “I like your ponytail. You know, years ago I wore my hair in a ponytail. Not a big ponytail. A little one. I had a beard too.” And she looks at me. “A ponytail? Are you joking?
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17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and scu... - 10 views
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U.S. Code › Title 17 › Chapter 1 › § 113 17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and sculptural works
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(a) Subject to the provisions of subsections (b) and (c) of this section, the exclusive right to reproduce a copyrighted pictorial, graphic, or sculptural work in copies under section 106 includes the right to reproduce the work in or on any kind of article, whether useful or otherwise.
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(b) This title does not afford, to the owner of copyright in a work that portrays a useful article as such, any greater or lesser rights with respect to the making, distribution, or display of the useful article so portrayed than those afforded to such works under the law, whether title 17 or the common law or statutes of a State, in effect on December 31, 1977, as held applicable and construed by a court in an action brought under this title.
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(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.
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(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
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(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,
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(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—
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(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.
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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.
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(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.
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17 U.S. Code § 106A - Rights of certain authors to attribution and integrity ... - 1 views
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(a) Rights of Attribution and Integrity.— Subject to section 107 and independent of the exclusive rights provided in section 106, the author of a work of visual art— (1) shall have the right—
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(B) to prevent the use of his or her name as the author of any work of visual art which he or she did not create;
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(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
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(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.
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(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.
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(4) All terms of the rights conferred by subsection (a) run to the end of the calendar year in which they would otherwise expire.
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(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.
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(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.
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(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.
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(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).
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(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.
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(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.
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Former Indiana Governor Seeks Censorship of Howard Zinn - Validated Independent News - 44 views
www.projectcensored.org/r-seeks-censorship-howard-zinn
Howard Zinn Mexico People's History censorship
shared by onepulledthread on 03 Jan 14
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project censored article on former Indiana gov Mitch Daniels now president of Purdue's effort to root out Zinn's work from being used by teachers. article notes contrast of Ziinn's treatment of US imperialism compared with a standard history text used in Indiana that devotes all of two paragraphs to the US war with Mexico that ended with Mexico "ceding" i(n the euphemistic curricular language) almost 1/2 it's territory to the US--while not mentioning any dissent about this war. In contrast, Zinn's people's history devotes a whole chapter to the conflict.
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Education Update:How We Got Grading Wrong, and What to Do About It:How We Got Grading W... - 72 views
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"Rubrics hold a mirror up to your objectives for an assessment task. Matt Townsley remembers well the day he looked into this mirror and didn't like what he saw. "I realized my criteria were mostly about how neat the project looked. It hit me that students could do well without knowing a whole lot about the learning objective."
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"Rubrics hold a mirror up to your objectives for an assessment task. Matt Townsley remembers well the day he looked into this mirror and didn't like what he saw. "I realized my criteria were mostly about how neat the project looked. It hit me that students could do well without knowing a whole lot about the learning objective."
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This sounds like an interesting article that someone took the time out to put up here on Diigo. There's only one problem, this seems to be some sort of "pay to view" site. Visitors actually cannot see the article in question (well, they get a 2-paragraph preview). Diigo friends, please don't point to sites that don't give the full information.
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Actually, one need not pay, but to read the whole article, one does have to sign in - the account is free, and I understand some don't want to sign in. Still, the article raises some good points.
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5 Skills I'm Scared My Sons Won't Have | Erin Mantz - 124 views
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EXTRA CREDIT: Read this article written by a parent about her sons technology usage and her fears of the skills they will not acquire. In your own words, summarize the article in approximately one paragraph. In another paragraph, explain whether or not you agree or disagree using textual support and your own experiences to back up your rationale.
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APA Style Blog: When to Include the Year in Citations Appearing More Than Once in a Par... - 8 views
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Create timelines, share them on the web | Timetoast timelines - 134 views
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"Timetoast is a great way to share the past, or even the future... Creating a timeline takes minutes, it's as simple as can be."
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"Timetoast is a great way to share the past, or even the future... Creating a timeline takes minutes, it's as simple as can be."
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I love TimeToast's cool interface. Add a paragraph, link, and photo of each event. Does not have the privacy features of XTimline though.
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Timetoast is a great way to share the past, or even the future. Creating a timeline takes minutes, and it's as simple as can be.