By Amy Benjamin, Joan Berger

Instill grammar basics utilizing classes that stick! during this publication, authors Amy Benjamin and Joan Berger proportion techniques for educating grammar successfully and dynamically, in ways in which entice scholars and academics alike. excellent for academics simply starting their paintings in grammar guideline, this ebook comprises daily devices and reproducibles to assist them embed grammar classes into writing instruction.

Using visuals, wordplay, challenge fixing, and pattern-finding actions, lecturers can forgo tools that fail to interact scholars in grammar. via a sequence of actions designed to delve deeper into grammar studying, the authors proportion techniques that experience confirmed profitable in the course of their wide years of training and literacy consulting. subject matters include:

Using time properly: check for cumulative figuring out and improvement of writing style
The "Verb Map": a visible metaphor of the verb system
Teaching elements of speech for powerful expression, not only memorization
And more!

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Extra info for Teaching Grammar, What Really Works

Example text

Images of the huge dust cloud that followed the collapse of the World Trade Center towers had also been foreshadowed in varying ways in the disaster cycle of the latter years of the 20th century. An actual dust cloud is manifested, although only seen briefly, after the toppling of the distinctive peak of the Chrysler building in Armageddon. Structures of shape and scale similar to that of the real-world dust cloud, from which people flee in terror, are also manifested by fireballs in Independence Day and the tidal wave-front that sweeps up Manhattan in Deep Impact (1998).

Zizek: 12) The Reality of Representation: from Liveness to Embeddedness In television’s obsession with reality, where ordinary people are showcased as actors, and mundane situations as drama, we are asked increasingly to see ourselves as though on television, or video at least. This is not the same thing as being virtual, but rather occupying a feedback loop-living ‘live’. This is a shift in terms of how we understand ideas such as simulation and spectacle: a shift that emphasizes, not the disappearance of reality, but rather a reversal of how the problem is posed.

Because the more you look at the same exact thing, the more the meaning goes away and the better and emptier you feel’ (quoted in Foster 1996: 131). The disaster series preceded the advent of the porta-pack video camera (the first commercially available video camera, which went on the market in 1965), but the series seems to prefigure the age of instant replay. Warhol’s experiments with still and moving image, repetition and continuity, economically summed up the televisual impulse toward repetition.

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