As noon announces her highest, sun slicing the sky like an angry switchblade [absolute], I reckon it’s time for a reckoning. It has been a long semester, hectic and challenging [adjectives out of order], but I feel like it’s been very rewarding as well. Looking over the list of grammatical rules and techniques we’ve studied over the semester [participle], I can’t believe how much I’ve learned. I have several topics under my belt: pronoun and verb usage and agreement, passive and active voice, parallelism, punctuation, and syntactical structures [colon use]. I am now a veritable gunslinger of grammar [varying sentence length].
At the beginning of the semester, my grammatical tongue, parched and cracked [adjectives out of order], longed to break some new ground. And so I drew a line in the sand [beginning a sentence with a conjunction]. I wanted to have a better understanding of many of the grammar rules, not only to be able to use them correctly and justify my choices, but also to be able to explain them to students, future and present [adjectives out of order]. I am proud to say that I do indeed feel confident about these skills; I have actually used several of the topics we discussed in class in my one-on-one and small group tutorials [semicolon use]. I sling spitfire, hot bullet words and structures, fierce and refined [adjectives out of order], watching as they ricochet within the minds of my pupils [participle]. These ideas will leave their mark [varying sentence length].
One of my major goals for the semester was to get a better grasp on punctuation, particularly commas and semicolons. I realized some very interesting tips and tricks, learning when I overuse and underuse commas [participle]. Now I’ve corralled those pesky comma splices and stepped out on the range with my semicolons; I punctuate like the west was won [semicolon use].
My willingness to take risks in my writing has grown exponentially this semester [active voice]. Although I never felt that my writing was stagnant before [AAAWWUBBIS], I often found myself taking “safe” routes and sticking with sentence structures and patterns I was comfortable with. I kept my fightin’ words to a minimum. Using brushstrokes and the Lanham Method [participle], two techniques for making writing more interesting and succinct [appositive], I find that my writing is more dynamic and less wordy. I shave milliseconds off my shooting time, giving me time to show off [participle], revolvers spinning [absolute], daunting and tough [adjectives out of order]. When reading my writing, nobody ever needs to ask, “Who’s kickin’ who?” I’ll make sure ya’ll [contraction use] know who’s doing the kicking from now on, thank you kindly.
While I am grateful for my newfound confidence and risk-taking in writing [AAAWWUBBIS], I feel that one of the most important things I’ve learned over the semester is something I was initially skeptical about: the idea that grammar must be taught in context, and does not need to be taught in great detail [appositive]. Skill is important, but it’s the courage to stand up and use it that really encourages learning. But even after becoming a more proficient writer, I know there is more to learn and more to teach, so I set off on my horse and ride into the sunset, searching for other tumbleweed blown minds and my next grammar square-off. [beginning a sentence with a conjunction, participle, active voice, varying sentence length]
Sunday, December 6, 2009
Saturday, November 7, 2009
Poet and a Prophet
The following is the revised version of a page from an essay I wrote on the life and influence of Bob Marley. I tried to make it as “active” as possible, but I’m not sure if I succeeded.
The term “Babylon” is important in Rastafari culture. Babylon is the oppressive system implemented upon colonized people (Edmonds 24). Rastafari often use the term in the context of colonialism and the negative influence of Western culture, though “at the sociopolitical level, the term Babylon is used in reference to the ideological and structural components of Jamaica’s social system, which institutionalizes inequity and exploitation” (24). Rastafarianism seeks to reject this oppressive influence by Western culture and its attempt to alienate people from Jah (25). Therefore, the Rasta way of life attempts to live in harmony with other cultures and ways of life while still rejecting the negative influences and displays of power associated with these cultures which would be imposed upon Rastafarians’ own beliefs.
Two aspects of Rastafari culture which have become archetypes for Jamaican culture are hair worn in the dreadlocked style and the use of marijuana. Neither of these characteristics have been accepted by Western culture, and have therefore been incorrectly culturally represented as evidence toward the misconception that Jamaicans are lazy. However, these are important aspects of Rastafari culture that relate to the spiritual connection between the people and Jah. Though Marley was a firm believer in this connection, he was considered a front-runner for the misrepresentation of the laid-back, easy-going Jamaican. Rastafarians consider dreadlocks to be an expression of a devotion to naturalness and the body as a whole (Edmonds 32). They also “indicate a rejection of Babylon’s definition of beauty, especially as it relates to European features and hair quality” (32). Though there is not much commentary on Marley’s choice of hairstyle other than to notice that it has become a symbol of Rastafarianism, it is notable that Marley’s use of marijuana has been criticized. Constantine writes that the Rastafarians “promoted ganja as an alternative, a Rastafarian sacrament, a statement of independence and cohesion against the brutal stratagems of colonial rule” (138). Marley smoked marijuana as a spiritual practice daily. The origin of the misrepresentation of the use of marijuana as a spiritual practice could have been an attempt to discredit Marley or his beliefs.
The term “Babylon” is important in Rastafari culture. Babylon is the oppressive system implemented upon colonized people (Edmonds 24). Rastafari often use the term in the context of colonialism and the negative influence of Western culture, though “at the sociopolitical level, the term Babylon is used in reference to the ideological and structural components of Jamaica’s social system, which institutionalizes inequity and exploitation” (24). Rastafarianism seeks to reject this oppressive influence by Western culture and its attempt to alienate people from Jah (25). Therefore, the Rasta way of life attempts to live in harmony with other cultures and ways of life while still rejecting the negative influences and displays of power associated with these cultures which would be imposed upon Rastafarians’ own beliefs.
Two aspects of Rastafari culture which have become archetypes for Jamaican culture are hair worn in the dreadlocked style and the use of marijuana. Neither of these characteristics have been accepted by Western culture, and have therefore been incorrectly culturally represented as evidence toward the misconception that Jamaicans are lazy. However, these are important aspects of Rastafari culture that relate to the spiritual connection between the people and Jah. Though Marley was a firm believer in this connection, he was considered a front-runner for the misrepresentation of the laid-back, easy-going Jamaican. Rastafarians consider dreadlocks to be an expression of a devotion to naturalness and the body as a whole (Edmonds 32). They also “indicate a rejection of Babylon’s definition of beauty, especially as it relates to European features and hair quality” (32). Though there is not much commentary on Marley’s choice of hairstyle other than to notice that it has become a symbol of Rastafarianism, it is notable that Marley’s use of marijuana has been criticized. Constantine writes that the Rastafarians “promoted ganja as an alternative, a Rastafarian sacrament, a statement of independence and cohesion against the brutal stratagems of colonial rule” (138). Marley smoked marijuana as a spiritual practice daily. The origin of the misrepresentation of the use of marijuana as a spiritual practice could have been an attempt to discredit Marley or his beliefs.
Sunday, November 1, 2009
Portrait of Fragility
Portrait of Fragility (Original)
Tall, lithe, thin, and pale, she is like a piece of tracing paper. Her arms are made of bones and blue veins that snake across onion peel skin. Her shoulders hunch as though she is cold, as though she is lonely, as though she bears a weight not reflected within her breakable frame. Her ribs cage her organs weakly. Her legs are two splintering stilts upon which she shakily stands. They are covered in scars which no one will see. She moves with a shuddering grace as though held up by frail and failing moth wings, gusted by wind and torn down by gravity. She is a mound of ash waiting for a draft. Yet there is some kind of cold light which lingers just beneath the surface with a need to break free from its wounded and ruined body.
Eyes which burn like sharpened ice and freeze like an unforgiving fire stare outward from her gaunt face. They are blue gray as the sky before a thunderstorm. They shift back and forth as fast as lightening. Lashes which fringe heavy shades draw open and closed across these darkened windows to a darkened soul. No tears escape- they have long been banished in the arctic of her psyche. Her cheekbones create two barren valleys in her cheeks. She releases a yawn and a tensing jaw. She is sleep and waking; she see-saws awareness.
Her straw-like, ashen hair twirls around her fingers as they wring and wring and scratch scratch scratch. She has no patience for warmth, finds no peace in the snow white noise that rains against her ears, but hums dejectedly, distractedly along with music drifting in her head. She speaks with a hushed intensity like promises and threats, absent of pronunciation of consonants but dripping with legato style. She breathes as though her lungs are two defeated, forgotten balloons. She tugs edgily at the corners of the lace of her dress, fraying the hems and twisting them into delicate shapes like origami or paper flowers. But she tears down all of her beautiful creations. She is a ghost of a woman, phantom of her former self, clinging to unfinished business and mistakes yet to be made.
Portrait of Fragility (with Brushstrokes)
Tall, lithe, thin, and pale, she is like a piece of tracing paper, nearly transparent and just as fragile. [adjectives out of order] Her arms are made of bones and blue veins that snake across onion peel skin, slithering and pulsing like an angry, dying heartbeat. [participle] Her shoulders, defeated and weakened, [adjectives out of order] hunch as though she is cold, as though she is lonely, as though she bears a weight not reflected within her breakable frame. Her ribs cage her organs weakly, pitifully protruding as some sort of feeble protection. [participle] Her legs are two splintering stilts upon which she shakily stands. They are covered in scars which no one will see: connect the dots of paranoid fears. [appositive] She moves with a shuddering grace as though held up by frail and failing moth wings, gusted by wind and torn down by gravity. She is a mound of ash waiting for a draft. Yet there is some kind of cold light which lingers just beneath the surface, dying to break free from its wounded and ruined body. [participle]
Staring outward from her gaunt face, [participle] eyes burning as sharp as ice freeze like an unforgiving fire. [absolute] They are blue gray as the sky before a thunderstorm. They shift back and forth as fast as lightening. Lashes fringing heavy shades [absolute] draw open and closed across these darkened windows to a darkened soul. No tears escape- they have long been banished in the arctic of her psyche. Cheekbones high, regal, and haughty [adjectives out of order] create two barren valleys in her cheeks. Skin is stretched as if over a drum, smooth and white as cracking porcelain. [adjectives out of order] Stretched over teeth that stand like a row of polished white daggers, biting lips [participle] shredded, pale, and peeling, [adjectives out of order] snarling back in defense, releasing a yawn and a tensing jaw. [participles] She is sleep and waking: two needs in opposition, denied. [appositive] She see-saws awareness.
Her hair, ashen and straw-like, [adjectives out of order] twirls around her fingers as they wring and wring and scratch scratch scratch. Toe tapping, jaw clenching, [participle] she has no patience for warmth, finds no peace in the snow white noise that rains against her ears, but hums dejectedly, distractedly along with music drifting in her head. She speaks with a hushed intensity like promises and threats, absent of pronunciation of consonants but dripping with legato style. She breathes as though her lungs are two defeated, forgotten balloons, souvenirs of an innocent, effortless time. [appositive] She tugs edgily at the corners of the lace of her dress, hems fraying and twisting into delicate shapes like origami or paper flowers. [absolute] But she tears down all of her beautiful creations. She is a ghost of a woman, phantom of her former self, clinging to unfinished business and mistakes yet to be made.
Friday, October 9, 2009
Scrapbook-a-go-go!
This week seems to have been, for many of us in the class, a whirlwind of new terms and rules. AWWUBBIS, or the subordinating conjunctions, confused me at first, simply because there seem to be so many that don’t fall into the acronym. I think, though, that as I get better at recognizing them and whether or not they are used and correctly, I’ll feel more comfortable with them. I was glad to have the chance to practice identifying the subordinating conjunctions in my own blog. It is very helpful for me to practice the specific skills we learn each week on my blogs in workshop. It’s interesting to see which elements of sentence structure and punctuation I am already using correctly and which I need to improve upon.
While working on my grammar scrapbook and helping fellow classmates with theirs, I’m realizing how difficult it can be to explain what exactly is wrong in a grammatical error. It’s one thing to be able to point out a mistake, but it’s quite another to describe in grammar rules and terms what makes it incorrect. It becomes even more complicated to think how one might go about fixing the error. Working on the scrapbook has really made me more aware, and possibly critical of, others’ writing as well as my own. And as an added bonus, I get to laugh at some of the more ridiculous typos and errors in print in alleged professional publications.
I think one reason people seem to be having so much trouble with finding errors in print to include in their scrapbooks is the fact that we are not conditioned to notice errors. This is a good thing, because it means that we as readers focus on the content of a piece of writing rather than its conventions. I usually find myself mentally editing the word choice, organization, and strength of argument of a newspaper or magazine article before I can pick out its syntactical errors or weaknesses. It is necessary, however, to start noticing mistakes in writing so that we can help our students become more fluent writers and be conscious of their own work.
Question: When looking for errors in print, do you notice any specific type of error or problem that jumps out at you? If so, do you think it is because this is an error you have had trouble with in the past, or continue to have trouble with?
While working on my grammar scrapbook and helping fellow classmates with theirs, I’m realizing how difficult it can be to explain what exactly is wrong in a grammatical error. It’s one thing to be able to point out a mistake, but it’s quite another to describe in grammar rules and terms what makes it incorrect. It becomes even more complicated to think how one might go about fixing the error. Working on the scrapbook has really made me more aware, and possibly critical of, others’ writing as well as my own. And as an added bonus, I get to laugh at some of the more ridiculous typos and errors in print in alleged professional publications.
I think one reason people seem to be having so much trouble with finding errors in print to include in their scrapbooks is the fact that we are not conditioned to notice errors. This is a good thing, because it means that we as readers focus on the content of a piece of writing rather than its conventions. I usually find myself mentally editing the word choice, organization, and strength of argument of a newspaper or magazine article before I can pick out its syntactical errors or weaknesses. It is necessary, however, to start noticing mistakes in writing so that we can help our students become more fluent writers and be conscious of their own work.
Question: When looking for errors in print, do you notice any specific type of error or problem that jumps out at you? If so, do you think it is because this is an error you have had trouble with in the past, or continue to have trouble with?
Sunday, October 4, 2009
Splice and Dice
Commas can be tricky. I know that I’ve been guilty in the past of overusing commas, omitting commas, and creating comma splices. As we’ve seen from examples in class, an omission or error in punctuation can drastically change the meaning of a sentence, or confuse the reader. Too much punctuation can also distract the reader and create a choppy rhythm in writing. This is why thorough understanding and constant practice of punctuation is so important.
The Socratic seminar this week about students who don’t punctuate their work was very eye-opening. I wasn’t aware of the fact that some students don’t punctuate their work at all on their own, whether I didn’t ever witness this in elementary school or just don’t remember it. I think if a student is allowed to move through school without being made aware of the mistakes he or she is making, the teacher is the one at fault. However, I also think that at some point a student needs to take responsibility for his or her own learning and be more conscious of whether or not he or she is writing correctly.
As far as I know, I have always punctuated my writing. My mother has a copy of a letter I wrote to an uncle when I was five. Even though some of the periods are in the wrong place, I punctuated even then. In elementary school I even delighted in punctuating my work because I turned periods into hearts and question marks into little swirls (I was quite the romantic child). I think that learning to write from an early age, and enjoying writing, helped to make me more conscious and particular about the way I wrote words and marks on a page.
As a college student and future English teacher, I am very conscious of how I write. I try and write purposefully and meaningfully. I think this is reflected even in something as seemingly insignificant as punctuation. I punctuate my work as I go, even in pre-writing exercises and early drafts. It seems counter-productive to leave punctuation as the final marker in the writing process, because it influences so much about what the words are actually saying. I hope to pass the understanding of the importance of punctuation on to my future students by modeling my excellent punctuation skills at every stage of the writing process.
Question: If you, as future teachers, come across a student who is not punctuating his or her work, or is punctuating incorrectly, how and when would you go about pointing this out to the student and giving further help?
Question NUMBER TWO! (because curiosity doesn’t really kill the Kat): Do you ever see an error in punctuation such as these in your own or your friends’ writing:
Drinking screwdrivers all night, puts you in a bad position.
Washington taxi drivers, should not crash into guard rails.
Yes, these are actual Myspace picture captions. Why do you think some people add commas like this?
The Socratic seminar this week about students who don’t punctuate their work was very eye-opening. I wasn’t aware of the fact that some students don’t punctuate their work at all on their own, whether I didn’t ever witness this in elementary school or just don’t remember it. I think if a student is allowed to move through school without being made aware of the mistakes he or she is making, the teacher is the one at fault. However, I also think that at some point a student needs to take responsibility for his or her own learning and be more conscious of whether or not he or she is writing correctly.
As far as I know, I have always punctuated my writing. My mother has a copy of a letter I wrote to an uncle when I was five. Even though some of the periods are in the wrong place, I punctuated even then. In elementary school I even delighted in punctuating my work because I turned periods into hearts and question marks into little swirls (I was quite the romantic child). I think that learning to write from an early age, and enjoying writing, helped to make me more conscious and particular about the way I wrote words and marks on a page.
As a college student and future English teacher, I am very conscious of how I write. I try and write purposefully and meaningfully. I think this is reflected even in something as seemingly insignificant as punctuation. I punctuate my work as I go, even in pre-writing exercises and early drafts. It seems counter-productive to leave punctuation as the final marker in the writing process, because it influences so much about what the words are actually saying. I hope to pass the understanding of the importance of punctuation on to my future students by modeling my excellent punctuation skills at every stage of the writing process.
Question: If you, as future teachers, come across a student who is not punctuating his or her work, or is punctuating incorrectly, how and when would you go about pointing this out to the student and giving further help?
Question NUMBER TWO! (because curiosity doesn’t really kill the Kat): Do you ever see an error in punctuation such as these in your own or your friends’ writing:
Drinking screwdrivers all night, puts you in a bad position.
Washington taxi drivers, should not crash into guard rails.
Yes, these are actual Myspace picture captions. Why do you think some people add commas like this?
Saturday, September 26, 2009
Sentence Structure and Seminars
This week I was relieved to get the chance to practice sentence patterns a bit more. I felt slightly uneasy at the end of the week about the difference between transitional and linking verbs, but after practicing with the newspaper headlines I feel very comfortable. Separating out the prepositional phrases was also a really helpful exercise. It can be confusing determining what the object of a verb pattern is when a prepositional phrase gets in the way, but labeling each part of the sentence made it much easier. I really like this exercise because it allows for lots of practice that isn’t boring or repetitive, such as a worksheet or exercise from the overhead.
The Socratic Seminar this week went a little more smoothly than last week. It’s interesting that we all prefer one big circle when statistics show the fishbowl to be the preferred method. We have a really great group of class members though, so taking turns and giving people room to speak and share their ideas isn’t a problem. I’m surprised that there was such a wide range of ideas about the way Dora’s teacher allowed her to practice her words and sentences. Though giving Dora the freedom to make mistakes and skill-build on her own probably helped Dora in future exercises and in coming to her own conclusions about writing, it was probably frustrating for her to continue to write incorrectly. I was glad that I wasn’t the only person in the class who recognized this. However, I was impressed that we were all able to come to some kind of consensus on the positive and negative aspects of the lessons Dora’s teacher gave.
At this point there aren’t any grammar concepts that I don’t understand or feel uncomfortable with, but practice only makes perfect. I’m excited to see and participate in the mini-lessons. I still feel uneasy about teaching grammar without giving a comprehensive overview before contextualization, and I feel like getting multiple perspectives on how to go about doing it will be very beneficial.
Question: Even when grammar is being taught contextually and in a trial-by-error manner like Dora’s teacher did, is it ok to use terminology such as “sentence pattern,” “verb phrase,” and “preposition” to describe grammar concepts if a question arises? Are these concepts too convoluted for younger students?
The Socratic Seminar this week went a little more smoothly than last week. It’s interesting that we all prefer one big circle when statistics show the fishbowl to be the preferred method. We have a really great group of class members though, so taking turns and giving people room to speak and share their ideas isn’t a problem. I’m surprised that there was such a wide range of ideas about the way Dora’s teacher allowed her to practice her words and sentences. Though giving Dora the freedom to make mistakes and skill-build on her own probably helped Dora in future exercises and in coming to her own conclusions about writing, it was probably frustrating for her to continue to write incorrectly. I was glad that I wasn’t the only person in the class who recognized this. However, I was impressed that we were all able to come to some kind of consensus on the positive and negative aspects of the lessons Dora’s teacher gave.
At this point there aren’t any grammar concepts that I don’t understand or feel uncomfortable with, but practice only makes perfect. I’m excited to see and participate in the mini-lessons. I still feel uneasy about teaching grammar without giving a comprehensive overview before contextualization, and I feel like getting multiple perspectives on how to go about doing it will be very beneficial.
Question: Even when grammar is being taught contextually and in a trial-by-error manner like Dora’s teacher did, is it ok to use terminology such as “sentence pattern,” “verb phrase,” and “preposition” to describe grammar concepts if a question arises? Are these concepts too convoluted for younger students?
Sunday, September 20, 2009
Speaking of Syntax
This last week has really helped to quell some of my concerns about the idea of contextualizing grammar lessons. Though I still feel like there is some value in teaching grammar on its own, I am beginning to understand how beneficial it is to let children practice their grammar skills in conjunction with other skills.
I really enjoyed the fishbowl discussion, not only because we were able to practice the Socratic Seminar technique, but also because of the topic we discussed. I found it to be very illuminating how interested people were in the idea of having students write poems to practice using adjectives and adverbs. I also felt a little relieved that not everyone thought this was an effective tool for cultivating grammar skills, but perhaps more for the creative process. This activity has given me an idea, however, to look at other poets’ work to practice first recognizing adverbs and adjectives in others’ writing, second practicing using such descriptive words, and third identifying these words in their own writing. Descriptive poets like Lawrence Ferlinghetti, Dylan Thomas, and e.e. cummings would be a good place to start. Reading e.e. cummings would even make for an interesting study in syntax.
Speaking of syntax, I loved the magnetic poetry exercise! My partner and I got stuck with a box which included both “genius” words and “naughty” ones. It made for an incredibly interesting and giggly class period. I think this activity would really help students strengthen their sentence structure while also practicing the verb types. However, I wonder if students, especially at a younger age, might get stuck on creating interesting or weird sentences rather than actually focusing on the types of verbs. I admit my own immaturity by saying that this was the case with my partner and me. Is there a good way to keep squirrely, word-loving kids on the task at hand rather than on a creative tangent?
At this point I feel pretty comfortable with the different types of verbs and combinations of verbs. However, I could use a little more practice recognizing which sentences are using transitive, intransitive, or linking verbs. It seems like some could be more than one of these types, or maybe I’m just still a bit confused as to what the direct object of the verb is. It’s tough when those tricky prepositional phrases get in the way. I wonder if we will cover the difference between a direct object and an indirect object, since these terms escape my memory. I also found my mind a bit boggled wondering where and how the rules for transitive, intransitive, and linking verbs come into play with gerund-start sentences. Ahh, syntax…
since feeling is first
since feeling is first
who pays any attention
to the syntax of things
will never wholly kiss you;
wholly to be a fool
while Spring is in the world
my blood approves,
and kisses are a better fate
than wisdom
lady i swear by all the flowers. Don't cry
- the best gesture of my brain is less than
your eyelids' flutter which says
we are for each other: then
laugh, leaning back in my arms
for life's not a paragraph
and death i think is no parenthesis
-ee cummings
Question: Can a prepositional phrase, or part of a prepositional phrase, ever be the direct object of a verb, or is it always just extra descriptive information which modifies the noun or the verb?
I really enjoyed the fishbowl discussion, not only because we were able to practice the Socratic Seminar technique, but also because of the topic we discussed. I found it to be very illuminating how interested people were in the idea of having students write poems to practice using adjectives and adverbs. I also felt a little relieved that not everyone thought this was an effective tool for cultivating grammar skills, but perhaps more for the creative process. This activity has given me an idea, however, to look at other poets’ work to practice first recognizing adverbs and adjectives in others’ writing, second practicing using such descriptive words, and third identifying these words in their own writing. Descriptive poets like Lawrence Ferlinghetti, Dylan Thomas, and e.e. cummings would be a good place to start. Reading e.e. cummings would even make for an interesting study in syntax.
Speaking of syntax, I loved the magnetic poetry exercise! My partner and I got stuck with a box which included both “genius” words and “naughty” ones. It made for an incredibly interesting and giggly class period. I think this activity would really help students strengthen their sentence structure while also practicing the verb types. However, I wonder if students, especially at a younger age, might get stuck on creating interesting or weird sentences rather than actually focusing on the types of verbs. I admit my own immaturity by saying that this was the case with my partner and me. Is there a good way to keep squirrely, word-loving kids on the task at hand rather than on a creative tangent?
At this point I feel pretty comfortable with the different types of verbs and combinations of verbs. However, I could use a little more practice recognizing which sentences are using transitive, intransitive, or linking verbs. It seems like some could be more than one of these types, or maybe I’m just still a bit confused as to what the direct object of the verb is. It’s tough when those tricky prepositional phrases get in the way. I wonder if we will cover the difference between a direct object and an indirect object, since these terms escape my memory. I also found my mind a bit boggled wondering where and how the rules for transitive, intransitive, and linking verbs come into play with gerund-start sentences. Ahh, syntax…
since feeling is first
since feeling is first
who pays any attention
to the syntax of things
will never wholly kiss you;
wholly to be a fool
while Spring is in the world
my blood approves,
and kisses are a better fate
than wisdom
lady i swear by all the flowers. Don't cry
- the best gesture of my brain is less than
your eyelids' flutter which says
we are for each other: then
laugh, leaning back in my arms
for life's not a paragraph
and death i think is no parenthesis
-ee cummings
Question: Can a prepositional phrase, or part of a prepositional phrase, ever be the direct object of a verb, or is it always just extra descriptive information which modifies the noun or the verb?
Sunday, September 13, 2009
Separation Anxiety
Upon coming into this class, I will admit that I felt a bit nervous about my own grammar skills, since it had been years since I have had any serious grammar lessons. However, after practicing in class a bit and working on my grammar scrapbook on my own, I realize that I actually know quite a bit more than I thought I did. The in-class activities, such as identifying parts of speech in newspaper headlines and practicing using apostrophes in a workshop session, have really helped to reaffirm my previous knowledge. I do feel much more confident in how to appropriately use apostrophes to indicate possession and pluralization.
Truthfully, I’m a little puzzled by the idea that grammar should not be taught separately in school as its own unit or sub-unit of writing curriculum. I understand that students process information better when it is contextualized. I find it interesting, however, that the teaching of grammar is moving so much toward this trend of contextualization and so far away from concept lessons, memorization, and practice of skills. Frankly, it makes me a little nervous.
I had a teacher in high school who was known fondly by past and present students as “the Grammar Nazi.” She began each school year with a comprehensive unit on grammar: the parts of speech, pronoun specifics, lists of prepositions, subject and verb agreement, etc. I remember despising this woman wholeheartedly for the first few weeks of school for the hell she was putting us through. However, once our unit was finished, the confidence I felt in my speaking and writing skills was invaluable. After taking written placement exams in several subjects for entrance to the Running Start program, I felt more grateful to that teacher than I had toward any teacher I had ever had. She helped me not only learn grammar both in the broad spectrum of applicability, but also in specific detail so as to be an excellent editor of my own skills in communication. She turned out more than ten years of incredibly articulate, confident writers whose writing was recognizable and exceptional to future teachers. I still send mental thank-you notes to this woman as I make my way through my college career. I do not think that we, ten years worth of students, are an exception in the idea that we were able to grasp grammar concepts with this method of teaching. Perhaps the Grammar Nazi was the exception in being able to teach it so wholly and so well. Either way, I find myself attached to this method and the success I have seen it yield.
I suppose I am still confused about the idea that grammar cannot be taught independently. I would also like more information or examples about contextualizing grammar into other lessons. For example, how can more subtle and variable nuances of the English language, such as differences in tenses and verb agreement between tenses be taught without some sort of comprehensive overview? I am open to such ideas and methods of teaching, but I would like more information which supports the reasoning behind it.
Question: A general rule I learned in high school for identifying the differences between adjectives and adverbs is that an adjective modifies a thing (a noun) whereas an adverb modifies an action (a verb). Is this still a good way to tell the difference between an adverb and an adjective at “first glance?”
Truthfully, I’m a little puzzled by the idea that grammar should not be taught separately in school as its own unit or sub-unit of writing curriculum. I understand that students process information better when it is contextualized. I find it interesting, however, that the teaching of grammar is moving so much toward this trend of contextualization and so far away from concept lessons, memorization, and practice of skills. Frankly, it makes me a little nervous.
I had a teacher in high school who was known fondly by past and present students as “the Grammar Nazi.” She began each school year with a comprehensive unit on grammar: the parts of speech, pronoun specifics, lists of prepositions, subject and verb agreement, etc. I remember despising this woman wholeheartedly for the first few weeks of school for the hell she was putting us through. However, once our unit was finished, the confidence I felt in my speaking and writing skills was invaluable. After taking written placement exams in several subjects for entrance to the Running Start program, I felt more grateful to that teacher than I had toward any teacher I had ever had. She helped me not only learn grammar both in the broad spectrum of applicability, but also in specific detail so as to be an excellent editor of my own skills in communication. She turned out more than ten years of incredibly articulate, confident writers whose writing was recognizable and exceptional to future teachers. I still send mental thank-you notes to this woman as I make my way through my college career. I do not think that we, ten years worth of students, are an exception in the idea that we were able to grasp grammar concepts with this method of teaching. Perhaps the Grammar Nazi was the exception in being able to teach it so wholly and so well. Either way, I find myself attached to this method and the success I have seen it yield.
I suppose I am still confused about the idea that grammar cannot be taught independently. I would also like more information or examples about contextualizing grammar into other lessons. For example, how can more subtle and variable nuances of the English language, such as differences in tenses and verb agreement between tenses be taught without some sort of comprehensive overview? I am open to such ideas and methods of teaching, but I would like more information which supports the reasoning behind it.
Question: A general rule I learned in high school for identifying the differences between adjectives and adverbs is that an adjective modifies a thing (a noun) whereas an adverb modifies an action (a verb). Is this still a good way to tell the difference between an adverb and an adjective at “first glance?”
Saturday, August 29, 2009
Star-Crossed (Out) Lovers
I have always loved to read and write. I suppose that may be why I love words in general: the way they sound, the way they look on a page, the way they flow together, the reactions they can illicit, the innumerable nuances of meaning they hold. However, my love affair with words has, at times, been one-sided; they don’t always love me back. I have not always been able to grasp all of the rules associated with words, which can make my relationship with writing a frustrating one. Had it not been for a particular teacher in high school, I may have blundered along through life without being able to identify the difference between an adverb and an adjective or active and passive voice… that is, until enrolling in this course.
At this point in my linguistic development I feel fairly confident in my grammar skills. My sister teases me because I always seem to know (and notice) when something is spoken or written incorrectly and what is actually correct. When it comes to grammar, I know what is correct and incorrect and how to make my sentence structure stronger. I just don’t always know how to justify my choices or what the rules are which govern them. So, I would really like to become more sure of what the specific rules are and which terms are associated with each rule. For example, I’m not quite sure what the “objects” and the “subjects” of a sentence are and how they relate to each other. I find myself over-editing and slashing words from my writing if I’m even slightly unsure of whether or not it is correct or articulate. There are times when I’ll leave a word out of a sentence because it doesn’t sound “quite right,” which makes me sad. That word may have deserved to be there! Knowing the terminology of grammar rules will help me to explain corrections in student work and to ensure that my own writing is correct.
One specific area of grammar which I would like to become more comfortable with is punctuation. More specifically, I’d like to know when and when not to use comas and semicolons. I was told by a previous professor that I overuse commas, so I try to use them minimally. However, sometimes I think I leave one out when it really should be there. Knowing how to use punctuation correctly will help make me more confident as a writer.
I’m looking forward to this class, if only to bolster what I already know about grammar. I feel that being more sure of myself as a speaker and a writer will not only help me in my own education, but will also help my students one day. And who knows- maybe they'll fall in love with words just like I did.
At this point in my linguistic development I feel fairly confident in my grammar skills. My sister teases me because I always seem to know (and notice) when something is spoken or written incorrectly and what is actually correct. When it comes to grammar, I know what is correct and incorrect and how to make my sentence structure stronger. I just don’t always know how to justify my choices or what the rules are which govern them. So, I would really like to become more sure of what the specific rules are and which terms are associated with each rule. For example, I’m not quite sure what the “objects” and the “subjects” of a sentence are and how they relate to each other. I find myself over-editing and slashing words from my writing if I’m even slightly unsure of whether or not it is correct or articulate. There are times when I’ll leave a word out of a sentence because it doesn’t sound “quite right,” which makes me sad. That word may have deserved to be there! Knowing the terminology of grammar rules will help me to explain corrections in student work and to ensure that my own writing is correct.
One specific area of grammar which I would like to become more comfortable with is punctuation. More specifically, I’d like to know when and when not to use comas and semicolons. I was told by a previous professor that I overuse commas, so I try to use them minimally. However, sometimes I think I leave one out when it really should be there. Knowing how to use punctuation correctly will help make me more confident as a writer.
I’m looking forward to this class, if only to bolster what I already know about grammar. I feel that being more sure of myself as a speaker and a writer will not only help me in my own education, but will also help my students one day. And who knows- maybe they'll fall in love with words just like I did.
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