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
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Instill grammar basics utilizing classes that stick! during this publication, authors Amy Benjamin and Joan Berger proportion approaches for educating grammar successfully and dynamically, in ways in which attract scholars and academics alike. perfect for academics simply starting their paintings in grammar guide, this booklet contains daily devices and reproducibles to aid them embed grammar classes into writing guide.
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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.