Setting up the Palette by Carole Greene

Setting Up the Palette by Carole Greene De Anza College Cupertino, California Manuscript Preparation: D’Artagnan Greene Cover Photo: Hotel Johannes Vermeer Restaurant, Delft, Holland © 2002 by Bill Greene ii Copyright © 2002 by Carole Greene ISBN X-XXXX-XXXX-X All rights reserved. No part of this book may be reproduced in any form whatsoever, by photography or xerography or by any other means, by broadcast or transmission, by translation into any kind of language, nor by recording electronically or otherwise, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in critical articles or reviews. Printed in the United States of America. X X X X X X X X X X Address orders to: XXXXXXXXXXX 1111 XXXX XX XXXXXX, XX 00000-0000 Telephone 000-000-0000 Fax 000-000-0000 XXXXX Publishing XXXXXXXXXXXXXXXXXXXXXXXX iii TABLE OF CONTENTS FOREWORD ix CHAPTER 1- Mastering the Tools An Overview 13The Clause 15 17 21 23 29 33 The Simple Sentence The Verb Check Items in a Series Inverted Clauses and Questions Analyzing a Question Exercise 1: Locate Subjects and Verbs in Questions 35 37 47 55 Exercise 2: Locate Verbs in Simple Sentences Exercise 3: Locate Subjects in Simple Sentences Exercise 4: Locate Subjects and Verbs in Simple Sentences iv The Need to Change Reading Habits The Phrase 69 71 73 75 77 78 79 81 83 A Phrase Versus a Clause Prepositional Phrases Common Single Word Prepositions Group Prepositions Developing a Memory System Memory Facts Analyzing the Function of Prepositional Phrases Exercise 5: Locating Prepositional Phrases 89 More Practice on Identifying Prepositional Phrases and Their Function 97 101 102 The Complex Sentence Subordinate Connectives Recognizing, Eliminating, or Correcting the Dependent Clause Fragment 103 105 109 125 A Subordinate Connective Versus a Preposition Punctuating the Complex Sentence Complex Sentence Variations v A Supplementary Punctuation Rule for the Complex Sentence 133 Exercise 6: Locating Subjects and Verbs in Complex Sentences 135 143 147 149 151 Fragment Errors Infinitives and Infinitive Phrases Variant Functions of the Infinitive Phrase Participles and Participle Phrases Flip-Flop Patterns in Prepositional and Verbal Phrases 161 163 165 167 169 173 175 179 182 183 Exercise 7: Making a Verb Chart The Compound Sentence The Semicolon The Colon Coordinate Connectives Secondary Functions Run-On Sentences A Table of Sound Values Speaker Clauses vi Exercise 8: Joining Main Clauses in Compound Sentences 189 195 The Compound-Complex Sentence Exercise 9: Punctuating Compound-Complex Sentences 197 205 211 213 215 Logical Connectives How Versus However Than Versus Then A Supplementary Rule CHAPTER 2 - Writing a Paragraph Focusing on the Topic Sentence A Fact Versus an Opinion The Deductive Paragraph The Inductive Paragraph The Empty Paragraph 217 219 221 223 229 235 239 247 249 251 The Controlling Idea The Dead End Fact The Future-Based Statement The Rhetorical Question vii A Summary of Important Paragraph Concepts 253 Exercise 1: Distinguish Between a Fact and an Opinion 255 Exercise 2: Recognize Topic Sentence Parts 271 275 Main Clause Unity CHAPTER 3 - Producing an Essay 287 289 291 Structural Similarities in a Sentence, a Paragraph, and an Essay The Topic Sentence Versus a Thesis Statement A Single Paragraph Versus an Introductory Paragraph 293 297 299 315 A Summary of Essay Writing Concepts An Essay for Analysis Creating an Outline GLOSSARY 319 337 BIBLIOGRAPHY viii ix FOREWORD Dear Student: Congratulations!!! If you are reading this preface, you are in all probability a student of the inimitable Mrs. Carole Greene. Carole is a superb teacher, and I congratulate her on this latest series of texts which have as subject matter the great Dutch artist, Johannes Vermeer (1632-1675). You will learn many lessons from Carole Greene that are analogous to the lessons that Vermeer teaches us. As Vermeer used light through a window to illuminate many of his subjects, Carole Greene's teaching will illuminate your learning , particularly your understanding of grammar and rhetoric. As Vermeer worked very hard and very precisely to create the detail in his thirty-five paintings, you will need to work very hard and pay attention to detail in order to be successful in this course. So you can expect this course to be difficult and to require a great deal of effort on your part. The requirements of the course are, in fact, what make it worthwhile, and what you will gain from. Expect to have second thoughts; expect to need assistance from tutors, from your peers, and from your teacher!!! But if these are the demands, what will be the rewards? In 1986, Masako Pedigo took Carole's course, full of some of the same trepidation you may be feeling. She was from Japan, had married a Navy officer, and felt very uncomfortable with her very limited English. Carole "corrected my syntax and grammar; she was very helpful. She helped me to go on to English 1A and be very successful. But above all, she gave me confidence in myself which I had not had before. This confidence made it possible for me to become a teacher myself and to teach other teachers." So while much will be expected of you, you will gain much in return. xAnother thing I find so exciting is Carole's teaching of a master artist. In my own writing courses, I have used the great French sculptor, Auguste Rodin, and I have found that students not only learn to write but also receive as a bonus an education in art—and in living—that can be the basis for continued lifelong interest and study. There is another lesson here that Carole teaches by example: the need to combine your passions and your work. In order to write this text, Carole took a journey to Delft and Amsterdam over a Spring Break in order to capture many of the photographs you will see in this course. Teaching what you love is a lesson that good teachers follow; as students, you will catch the enthusiasm that your teacher has for Johannes Vermeer. Carole Greene is a great, but tough teacher. If you apply yourself to the material in this course, you will gain a mastery of writing that can be the basis for your future success in college writing and in life. You will share in Masako's confidence, but this time, it will be your own. Again, I congratulate you on your selection of Carole Greene's course; this will be a lot of work, but you can do it. May Carole and Vermeer inspire you to achieve your true, higher potential. JOHN K. SWENSSON Dean, Language Arts Division De Anza College. 1Chapter 1 Mastering the Tools <ul style="display: flex;"><li style="flex:1">2</li><li style="flex:1">3</li></ul>An Overview If you were to take a close look at the history of words and how they entered the English language, one of the things you would discover is that there is a close link between the words text and textile. For example, Webster’s New World Dictionary tells the reader that the word text comes from the Latin word textus meaning fabric, structure, and text and from the past participle texere which means to weave. In English, text means the actual structure of words in a piece of writing which is sometimes referred to as the wording that is used; it also refers to the actual or original words used by an author. text (tekst) a noun: from Latin textus, fabric, structure, and text and from the past participle of texere, to weave 1. the actual structure of words in a piece of writing; wording 2. the actual or original words used by an author 4This course is about words built up from letters. It is about sentences built up from words. And it is about paragraphs built up from carefully controlled sentence types. The dictionary also tells the reader that the word textile comes from the Latin words textilis and texere. In English, textile means having to do with weaving or with woven fabrics. It also refers to a fabric made by weaving. textile (teks-til) a noun: from Latin textilis and textus 1. having to do with weaving or with woven fabrics 2. a fabric made by weaving This is also a course about textiles. The subject matter of this book focuses on the life and work of the Dutch master painter, Johannes Vermeer. A textile is built up from a series of interlaced threads. A canvas is built up from those threads. It becomes the ground sheet for a painted surface. 5Johannes Vermeer’s canvases are built up from carefully controlled layers of paint. They tell stories that in the words of the art historian, Johan Huizinga, portray figures whose ‘actions are steeped in mystery...where words have no sound and thoughts no form.’ The content of this book makes use of text and textiles. The course will take you, the writer, on a word-filled journey where words become sentences and sentences become paragraphs created with control and skill. That writing skill will make readers want to give you a hearing just as selected viewers of Vermeer’s artwork wanted to give voice to wordless canvases that added richness to the artist’s unspoken thoughts. 6The Clause A clause is a group of words that contains a complete subject and a complete verb. The subject is what the sentence is about. The verb, which may be an action or a state of being, makes a statement about the subject. All sentences are determined by the number and type of clauses they contain. There are 4 main sentence types in the English language: Simple, Complex, Compound, and Compound-Complex. 7The Simple Sentence The Simple Sentence contains 1 main or independent clause that stands alone. Example: 1. I look at paintings by Johannes Vermeer. There is just 1 subject and 1 verb. It looks like this. ________________ It may be helpful to remember that the usual word order, or syntax, in English is subject-verb-object. Note: While you are learning The Simple Sentence, track each clause as it occurs. After tracking your clause, do a clause tabulation for each sentence to make sure that you have the right number and type of clause to form a Simple Sentence. [SS] 1 mc = SS 8The Simple Sentence may be written in command form. Example: 2. Look at the facts about the artist’s life. Example: 3. Look. In the preceding examples, the verb is__________. Since these sentences are written in command form, the subject is an implied (you). They look like this. ________________ Remember: In command form, the subject will be a stated or an under- stood (you). You cannot imply I, he, she, it, we, or they. 9Example: 4. A birth certificate, a marriage certificate, a death certificate, and stories about his family and his debts give the reader a fleeting glimpse of the man, breathe life into his ghostlike presence, and fill in gaps left blank by art historical accounts. In this sentence, there is more than 1 subject and more than 1 verb. It looks like this. ________________ Variation 1: There is more than 1 subject and only 1 verb. A birth certificate, a marriage certificate, a death certificate, and stories about his family and his debts give the reader a fleeting glimpse of the man. It looks like this. ________________

Setting up the Palette by Carole Greene

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