DOCSLIB.ORG

ELA 8 GRADE (Q2) Week 9: Dec. 14-18, 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ELA 8 GRADE (Q2) Week 9: Dec. 14-18, 2020 Name: Teacher: HAVEN SANDOVAL PRICE ELA 8TH GRADE (Q2) Week 9: Dec. 14-18, 2020 MONDAY CONVENTIONS Simple Tenses of Verbs TUESDAY CONVENTIONS Principle Parts of Verbs WEDNESDAY CONVENTIONS Perfect Tenses of Verbs THURSDAY AUTHOR’S STYLE Word Choice FRIDAY When you complete the packet, you may return it with any of the following options: 1. Scan each page and send it to your teacher’s email address. 2. Drop off the packet at the TMS front office. 3. Return it to the bus driver on the following Monday and pick up a new packet. If you have any questions about these assignments, please email your teacher or call TMS at 928-729-6811. Mrs. Haven [email protected] Ms. Price [email protected] Ms. Sandoval [email protected] Name: Date: SIMPLE TENSES OF VERBS The Diary of Anne Frank, Act II Frances Goodrich and Albert Hackett The tense of a verb shows the time of an action or a condition. There are three simple tenses of verbs: past, present, and future. PRESENT TENSE PAST TENSE FUTURE TENSE Use the base form; add -s or -es for For regular verbs, add -d or - Use will before base form. the third-person. ed to base form. I wait I waited I will wait You wait You waited You will wait He, she it will wait He, she it waits He, she it waited When telling a sequence of events, do not shift tense unnecessarily. Incorrect: I walked to the door and open it. Correct: I walked to the door and opened it. In some cases, however, it is necessary to shift tense to show the order of events. Incorrect: Because I run yesterday, I ache today. Correct: Because I ran yesterday, I ache today. A. DIRECTIONS: Underline each verb, then write what tense it is. 1. Anne writes in her diary. 2. Mrs. Frank will cut the cake. 3. Dussel talked to Mr. Kraler. 4. They rationed the food. 5. Anne will visit Peter’s room. B. DIRECTIONS: Rewrite each sentence, changing the underlined verb to the tense in parentheses. 1. Peter comforts Anne. (past) 2. The families divided up the food. (future) 3. Mr. Frank will talk to Miep. (present) 4. Mr. Frank remembers the time his family spent in hiding. (past) 5. Mr. Frank read Anne’s diary. (present) Copyright © Savvas Learning Company LLC. All Rights Reserved. Savvas is not responsible for any modifications made by end users to the content posted in its original format. Name: Date: PRINCIPAL PARTS OF VERBS The Diary of Anne Frank, Act I Frances Goodrich and Albert Hackett A verb is a word that expresses an action or state of being. All verbs have four principal parts or forms. Most verbs are regular, but some common verbs are irregular—their past and past participle do not follow one predictable pattern. The chart below shows the four principal parts of one regular verb, ask, and one irregular verb, write. PRINCIPAL PART HOW TO FORM EXAMPLES Present Basic form. Add -s or -es for third-person Peter asks her to be quiet. singular. Anne writes in her diary each night. Present Participle Add -ing. Use after a form of be (is, are, They are asking if there is more food. was, were, will be, etc.). She was writing about her experiences Past REGULAR: Add -d or -ed. Mr. Dussel asked to be left alone. IRREGULAR: No one predictable pattern. Mr. Frank wrote a list of items. Past Participle REGULAR: Add -d or -ed. Use a form of have. Mrs. Van Daan had asked for her coat. IRREGULAR: No one predictable pattern. Margot had written in her book. Use a form of have. A. DIRECTIONS: Write the verb in each sentence. Then, write the principal part it was formed from: present, past, present participle, or past participle. 1. Mr. Frank is telling Miep news about his departure. 2. Mr. and Mrs. Van Daan had gone to their room. 3. The Frank family had hidden in the attic. 4. Mr. Van Daan fights with Anne. 5. Mr. Dussel came to stay with the other families. B. DIRECTIONS: Write the principal parts of each verb from the selection. Present Present Participle Past Past Participle 1. wear 2. hear 3. help 4. try 5. warn Copyright © Savvas Learning Company LLC. All Rights Reserved. Savvas is not responsible for any modifications made by end users to the content posted in its original format. Name: Date: A close up of a sign Description automatically generated PERFECT TENSES OF VERBS Acceptance Speech for the Nobel Peace Prize Elie Wiesel The tense of a verb shows the time of an action or a condition. Each of the perfect tenses describes an action or a condition that was or will be completed before a certain time, or a past action or condition that continues into the present. Perfect tenses are formed by adding a form of the verb to have to the past participle of the main verb. VERB TENSE EXAMPLE present perfect: action in the past that continues I have tried to call you five times. into the present past perfect: an action in the past that ended I had tried to text but got no reply. before another past action future perfect: action in the future that will have If I call again, I will have tried to ended before a certain point in time contact you seven times. A. DIRECTIONS: Underline the perfect tense verb in each sentence, and write its verb form on the line provided. 1. I have read Elie Wiesel’s speech. 2. We will have decided never to be silent about such kinds of suffering again. 3. She had attended the speech in person. 4. Those who have read this speech have been inspired. 5. He will have given a moving delivery of the speech by now. B. DIRECTIONS: Rewrite the sentences, adding the form of the verb in parentheses. 1. I more about humanitarian efforts by the time I finish this book. (learn, future perfect) 2. Elie Wiesel the Nobel Peace Prize. (accept, past perfect) 3. She the speech multiple times. (read, present perfect) 4. We in class by tomorrow. (discuss, future perfect) 5. I to do some additional reading before I went to bed. (plan, past perfect) Copyright © Savvas Learning Company LLC. All Rights Reserved. Savvas is not responsible for any modifications made by end users to the content posted in its original format. RETEACH Name: Date: WORD CHOICE An author’s style is his or her way of using language. The author of a diary often uses an informal, conversational style, as if he or she were talking to a friend. Although many factors contribute to an author’s style, two key elements are diction and syntax. Diction: choice of words and phrases; for example, you might describe an author’s diction as formal, conversational, old-fashioned, or technical. Syntax: ways in which an author arranges words in a sentence; for example, you might describe an author’s syntax as simple, complex, exclamatory, or flowing. A. DIRECTIONS: Read the passage. Then, answer the questions. She took a deep breath, feeling the wind in her hair as she rushed down the hill on her bike. It was exhilarating, to feel such freedom! She had never moved so fast, and the feeling was powerful. She could be a bird, or a rocket. She felt like she was flying! 1. Which answer choice best describes the writer’s diction? a. formal and difficult c. descriptive and playful b. simple and plain d. humorous and unclear 2. Which answer choice best describes the writer’s syntax? a. short and straightforward c. flat and steady b. energetic and exclamatory d. complicated and mellow 3. Which answer choice best describes the writer’s style? a. humorous and sarcastic c. informal and light-hearted b. formal and sophisticated d. proud and practical © by Savvas Learning Company LLC. All rights reserved. 1 PRACTICE Name: Date: WORD CHOICE A. DIRECTIONS: Read each sentence, paying special attention to the diction. Then, mark each sentence with an I for informal diction or an F for formal diction. 1. Rachel totally knew she flunked the super hard test today. 2. Maxine wore a new green velvet suit to the concert. 3. Well, duh!—she should have known he was pulling her leg. B. DIRECTIONS: Read the following paragraphs. Then, respond to each item. 1 I’m writing to ask for some cash, Grandma. I really want to buy this rad new skateboard. I’ve been saving and working for months, but I still don’t have enough. This style is gonna fly off the shelves, and I need the money quick. Please? I can pay you back after a few shifts! 2 Hello, Grandma! I am writing to ask for an advance on a birthday present this year. There is a set of fancy rollerblades that I would like to purchase soon. I have been working hard babysitting, but even so, I haven’t saved enough yet. Do you think you can help me? I would be very grateful. 1. Describe the diction and syntax in paragraph 1. 2. Describe the diction and syntax in paragraph 2. 3. Which paragraph is written in a more formal style? Support your answer with specific examples of diction and syntax. 4. Which paragraph do you find more persuasive? Explain. C. DIRECTIONS: Read the passage. Then, answer the questions. I was looking at the statue of our town’s most famous resident. He had rescued three children from a house fire.
Load more

Recommended publications
  • Perfect Tenses 8.Pdf
    Name Date Lesson 7 Perfect Tenses Teaching The present perfect tense shows an action or condition that began in the past and continues into the present. Present Perfect Dan has called every day this week. The past perfect tense shows an action or condition in the past that came before another action or condition in the past. Past Perfect Dan had called before Ellen arrived. The future perfect tense shows an action or condition in the future that will occur before another action or condition in the future. Future Perfect Dan will have called before Ellen arrives. To form the present perfect, past perfect, and future perfect tenses, add has, have, had, or will have to the past participle. Tense Singular Plural Present Perfect I have called we have called has or have + past participle you have called you have called he, she, it has called they have called Past Perfect I had called we had called had + past participle you had called you had called he, she, it had called they had called CHAPTER 4 Future Perfect I will have called we will have called will + have + past participle you will have called you will have called he, she, it will have called they will have called Recognizing the Perfect Tenses Underline the verb in each sentence. On the blank, write the tense of the verb. 1. The film house has not developed the pictures yet. _______________________ 2. Fred will have left before Erin’s arrival. _______________________ 3. Florence has been a vary gracious hostess. _______________________ 4. Andi had lost her transfer by the end of the bus ride.
    [Show full text]
  • Choosing a Verb Tense the Present Tense Add –S to Make the Third Person Singular Present Tense
    Choosing a Verb Tense The Present Tense Add –s to make the third person singular present tense. Since most academic, scientific, and technical writing is done in present tense, this is a very important reminder! The system permits Each operator controls Use the present tense --to show present states or conditions: The test program is ready. The bell sounds shrill. --to show natural laws or eternal truths: The earth rotates around the sun. Carbon and oxygen combine to form carbon dioxide. --to show habitual actions and repeated acts: We hold a staff meeting every Tuesday. The new file boots the computer. --to quote from or paraphrase published work: Nagamichi claims that calcium inhibits the reaction. MCI’s brochure reads “We are more efficient than AT&T.” --to define or explain procedures or terminology: The board fits in the lower right-hand slot. BOC stands for “British Oxygen Corporation.” --to show possible futures in time and conditional clauses: Your supervisor will recommend you for promotion if she likes your work. The minutes of the meeting will be circulated once I type them. The Past Tense Add the proper suffix (usually –ed) or infix to the verb stem to make the past tense. Consult a dictionary if you have questions about the correct past form. Use the past tense --for events that happened at a specific time in the past: The fax arrived at 4:59 PM. Kennedy died in 1963. --for repeated or habitual items which no longer happen: We used to have our department meetings on Tuesday. He smoked cigarettes constantly until his coronary.
    [Show full text]
  • On Four Differences Between Two Metaphorical Expressions of Future
    63 佐渡一邦 On Four Differences between Two Metaphorical Expressions of Future Kazukuni SADO* Abstract The aim of this paper is to clarify the differences between two types of expressions whose forms are in the present, but express a future event. The simple present and present in present are compared with regard to four perspectives: modality, human endeavor, present relevance, and proximity to the present. We may conclude from research that the simple present allows only modalization, is neutral to human endeavor, has much stronger relevance to the present moment and is neutral to the distance from the time of utterance, while the present in present allows both types of modality, expresses the results of human endeavor and although is less related to the present moment, is likely to describe the near future. 0. Introduction Most of us would accept that verb tenses in the English language are far from simple. The expression of a future event, for example, is not necessarily expressed in the future tense. The use of the present tense to express the future is well explained as “futurate” in Huddleston and Pullum (2002) and elaborated further in Sado (2016). However, we are of the view that English has a future tense and thus, it seems no longer appropriate to use the term, ”futurate” in our discussion as Sado (2016) did. Sado (2017:60) replaced the term with “present of futurity” to refer to all present tense forms that are employed to express events in the future. This discrepancy between form and meaning is explained by Huddleston and Pullum (2002) in terms of knowledge in the present like schedules of public transportation as thus illustrated in the example below from Kreidler (2014:111).
    [Show full text]
  • Narrative Genres Narrative Text 1
    Moorgate Primary School English: INTENT Grammar, Punctuation and Writing Genres Criteria for Fiction and Non-Fiction Genres This is a suggested overview for each genre, giving a list of grammar and punctuation. It is not a definitive list. It will depend on the age group as to what you will include or exclude. For each genre you will work on vocabulary such as prefixes, suffixes, antonyms, synonyms, homonyms, etc. Where possible, different sentence structures should be taught. This will be developed through the year and throughout the Key Stage. Narrative Genres Narrative text 1. Adventure and mystery stories – past tense First or third person 2. Myths and legends – past tense Inverted commas 3. Stories with historical settings – past tense Personification 4. Stories set in imaginary worlds – past or future tense Similes 5. Stories with issues and dilemmas – past tense Metaphors 6. Flashback – past and present tense Onomatopoeia 7. Traditional fairy story – past tense Noun phrases 8. Ghost story – past tense Different sentence openers (prepositions, adverbs, connectives, “- ing” words, adverbs, “-ed” words, similes) Synonyms Antonyms Specific nouns (proper) Semicolons to separate two sentences Colons to separate two sentences of equal weighting Informal and formal language Lists of three – adjectives and actions Indefinite pronouns Emotive language Non-Fiction Genres Explanation text Recount text Persuasive text Report text Play scripts Poetry text Discussion text Present tense (This includes genres Present tense Formal language Exclamation
    [Show full text]
  • The Structure of Plays
    n the previous chapters, you explored activities preparing you to inter- I pret and develop a role from a playwright’s script. You used imagina- tion, concentration, observation, sensory recall, and movement to become aware of your personal resources. You used vocal exercises to prepare your voice for creative vocal expression. Improvisation and characterization activities provided opportunities for you to explore simple character portrayal and plot development. All of these activities were preparatory techniques for acting. Now you are ready to bring a character from the written page to the stage. The Structure of Plays LESSON OBJECTIVES ◆ Understand the dramatic structure of a play. 1 ◆ Recognize several types of plays. ◆ Understand how a play is organized. Much of an actor’s time is spent working from materials written by playwrights. You have probably read plays in your language arts classes. Thus, you probably already know that a play is a story written in dia- s a class, play a short logue form to be acted out by actors before a live audience as if it were A game of charades. Use the titles of plays and musicals or real life. the names of famous actors. Other forms of literature, such as short stories and novels, are writ- ten in prose form and are not intended to be acted out. Poetry also dif- fers from plays in that poetry is arranged in lines and verses and is not written to be performed. ■■■■■■■■■■■■■■■■ These students are bringing literature to life in much the same way that Aristotle first described drama over 2,000 years ago.
    [Show full text]
  • Topic: Sentence Structure Definition: Syntax, Diction, and Grammar Create
    Topic: Sentence Structure Definition: Syntax, diction, and grammar create sentence style. They work together to create effective writing. Explanation: Good writing is clear and easily understood by readers. That means the following elements of writing must be used effectively: • Syntax (sentence structure) should be as concise as possible. • Diction (word choice) should be as precise as possible. • Grammar (spelling and punctuation) should be accurate. Examples of rules in style to remember • Use simple present tense consistently when describing someone's written statement. o Example: “In another article she is saying…” or “she said…” o Better: "In another article she says…" o Note on verb tense: Research papers are typically written in past tense, and papers about literature and film are written in present tense. • To maintain formal style, avoid contractions even though they are appropriate in conversation. o Example: "I've noticed that she's written a novel that many people haven't read." o Better: "I have noticed that she has written a novel that many people have not read." • To maintain formal style, avoid writing in second person (you, your). o Example: "When you read Lincoln's words, you will understand his wisdom." o Better: "Reading Lincoln's words reveals his wisdom." • Avoid qualifiers, such as, pretty, little, rather, somewhat, very, kind of. They sound uncertain and hesitant. Go easy on the use of very. o Example: "I am pretty certain that with a little effort, you can be somewhat sure of the kind of success that most people usually hope for." o Better: "With effort, she can reach the success others hope for." Page 1 of 3 • Go easy on superlatives.
    [Show full text]
  • Poetic Diction, Poetic Discourse and the Poetic Register
    proceedings of the British Academy, 93.21-93 Poetic Diction, Poetic Discourse and the Poetic Register R. G. G. COLEMAN Summary. A number of distinctive characteristics can be iden- tified in the language used by Latin poets. To start with the lexicon, most of the words commonly cited as instances of poetic diction - ensis; fessus, meare, de, -que. -que etc. - are demonstrably archaic, having been displaced in the prose register. Archaic too are certain grammatical forms found in poetry - e.g. auldi, gen. pl. superum, agier, conticuere - and syntactic constructions like the use of simple cases for pre- I.positional phrases and of infinitives instead of the clausal structures of classical prose. Poets in all languages exploit the linguistic resources of past as well as present, but this facility is especially prominent where, as in Latin, the genre traditions positively encouraged imitatio. Some of the syntactic character- istics are influenced wholly or partly by Greek, as are other ingredients of the poetic register. The classical quantitative metres, derived from Greek, dictated the rhythmic pattern of the Latin words. Greek loan words and especially proper names - Chaoniae, Corydon, Pyrrha, Tempe, Theseus, Zephym etc. -brought exotic tones to the aural texture, often enhanced by Greek case forms. They also brought an allusive richness to their contexts. However, the most impressive charac- teristics after the metre were not dependent on foreign intrusion: the creation of imagery, often as an essential feature of a poetic argument, and the tropes of semantic transfer - metaphor, metonymy, synecdoche - were frequently deployed through common words. In fact no words were too prosaic to appear in even the highest poetic contexts, always assuming their metricality.
    [Show full text]
  • Language Reference
    Language reference Unit 1 | Tenses Past perfect Present simple Use the past perfect to put events in the past in sequence. The past perfect indicates that the action it refers to happened before a Use the present simple reference to the past simple. 1 to talk about general facts, states, and situations I had heard from the locals that there were several interesting sites. The purpose of business is to make a profit. 2 to talk about regular or repeated actions, or permanent situations Past perfect continuous Jack works for Nissan. Use the past perfect continuous to refer to an action in progress before something else happened. 3 to talk about timetabled future events He was the one who had been working on the project, but his boss The meeting starts at 10.00. was the one who got all the credit. Present continuous Should Use the present continuous 1 Use should + infinitive to recommend something strongly. 1 to talk about an action in progress at the time of speaking / You should try that vegetarian restaurant on the river. writing 2 Use should + perfect infinitive to talk about a lost opportunity. I’m trying to get through to Jon Berks. You should have gone this morning – it was quite an interesting 2 to talk about a very current activity, taking place around the time meeting. of speaking 3 Use could / should + infinitive to predict. They are pushing the area for development. It could / should turn out to be quite an interesting conference. 3 to talk about fixed plans or arrangements in the future I am meeting the management committee on Friday.
    [Show full text]
  • The Futur Proche and the Futur Simple
    page: taf4 1. futur proche vs. futur simple 2. differences between French and English French has two future tenses -- the futur proche and the futur simple. The futur proche is formed with the auxiliary aller which is followed by an infinitive (Je vais partir. 'I'm going to leave'). The futur simple doesn't have an auxiliary. Instead, the infinitive form becomes the stem to which future endings are added (Je partirai . 'I will leave'). For more details on the formation of these two future tenses, including irregular forms, see the related links: future: regular, future: irregular, and futur proche. futur proche vs. futur simple The two tenses are virtually interachangeable in most contexts, especially in spoken French. So what is the difference? In general, the two tenses differ in their level of formality; the future proche is used in more informal contexts and the simple future in more formal contexts. Thus, the futur proche is primarily used in speech and less frequently in writing. According to traditional grammars, the two tenses also differ in their relative distance to the present moment. The future proche, also called the futur immédiat, typically refers to a time very close to the present moment, i.e, the near or immediate future. The futur simple, on the other hand, is often used for events in the more distant future. Because the futur simple is associated with distant future events, it often takes on a detached, objective quality making it the preferred tense for future events that represent general truths. Qui vivra, verra. Whoever will live, will see.
    [Show full text]
  • Tenses and Conjugation (Pdf)
    Created by the Evergreen Writing Center Library 3407 867-6420 Tenses and Conjugation Using correct verb forms is crucial to communicating coherently. Understanding how to apply different tenses and properly conjugate verbs will give you the tools with which to craft clear, effective sentences. Conjugations A conjugation is a list of verb forms. It catalogues the person, number, tense, voice, and mood of a verb. Knowing how to conjugate verbs correctly will help you match verbs with their subjects, and give you a firmer grasp on how verbs function in different sentences. Here is a sample conjugation table: Present Tense, Active Voice, Indicative Mood: Jump Person Singular Plural 1st Person I jump we jump 2nd Person you jump you jump 3rd Person he/she/it jumps they jump Person: Person is divided into three categories (first, second, and third person), and tells the reader whether the subject is speaking, is spoken to, or is spoken about. Each person is expressed using different subjects: first person uses I or we; second person uses you; and third person uses he/she/it or they. Keep in mind that these words are not the only indicators of person; for example in the sentence “Shakespeare uses images of the divine in his sonnets to represent his own delusions of grandeur”, the verb uses is in the third person because Shakespeare could be replaced by he, an indicator of the third person. Number: Number refers to whether the verb is singular or plural. Tense: Tense tells the reader when the action of a verb takes place.
    [Show full text]
  • Talking About the Future: Unsettled Truth and Assertion Isidora Stojanovic
    Talking about the Future: Unsettled Truth and Assertion Isidora Stojanovic To cite this version: Isidora Stojanovic. Talking about the Future: Unsettled Truth and Assertion. Future Times, Future Tenses, pp.26 - 43, 2014. hal-02522820 HAL Id: hal-02522820 https://hal.archives-ouvertes.fr/hal-02522820 Submitted on 21 Sep 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Talking about the Future: Unsettled Truth and Assertion Isidora Stojanovic Institut Jean Nicod, ENS, CNRS, PSL Research Univers Prepublication version of Stojanovic, Isidora, "Talking about the Future: Settled Truth and Assertion", in De Brabanter, Philippe., Mikhail Kissine and Saghie Sharifzadeh (Eds.), Future Times, Future Tenses. Oxford: Oxford University Press (2014), pp. 26-43 Abstract Philosophers have long been concerned with the issue of whether the notions of truth and falsity apply or not to future contingents, i.e. to statements that express future events that have not been determined yet and thus may not happen. While there are several frameworks that (arguably) provide a satisfactory account of the truth conditions of future tensed sentences, not much has been done when it comes to providing the assertability conditions for such statements.
    [Show full text]
  • ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
    Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details.
    [Show full text]