- •History through art
- •Развитие речевой способности в контексте диалога культур и цивилизаций
- •С.В. Сомова
- •Part II
- •Part III
- •Step 1: Understanding the Information Historical Background
- •Archaic Period
- •Classical Period
- •Hellenistic Period
- •Part II Words to be pronounced and learnt
- •Part III
- •Step 2: Spelling and Vocabulary
- •Ancient rome Historical Background
- •Step 1: Understanding the Information Historical Background (509 bc – ad 476)
- •Part I
- •Part II
- •Part III
- •Step 2: Spelling and Vocabulary
- •Step 4: Shaping Ideas and Facts in English
- •Step 5: Subject and Thesis
- •Part II
- •The middle ages
- •The MiDdLe aGeS
- •Historical Background
- •Part I
- •Part II
- •Part III
- •Step 1: Understanding the Information Historical Background 800 bc – 146 bc
- •Part I
- •Part II
- •Part III
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •Step 4: Shaping Ideas and Facts in English
- •Hildegard of bingen
- •Part III
- •The renaissance
- •The renaissance
- •Historical Background
- •Part I
- •Part II
- •Step 1: Understanding the Information Historical Background
- •Part I
- •Part II
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •Step 4: Shaping Ideas and Facts in English
- •Портрет высокого возрождения
- •Vincenzo perugia
- •Part IV
- •The baroque
- •The baroque
- •Historical Background
- •Part I
- •Part II
- •Step 1: Understanding the Information Historical Background
- •Part I
- •Part II
- •Part III
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •Step 4: Shaping Ideas and Facts in English
- •Giovanni lorenzo bernini
- •Part V
- •The enlightenment
- •The enlightenment
- •Historical Background
- •Part I
- •Step 1: Understanding the Information Historical Background
- •Part I
- •Versailles
- •Part II
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •Thomas gainsborough
- •Step 4: Shaping Ideas and Facts in English
- •Franz joseph haydn
- •George frideric handel
- •Part VI
- •Romanticism
- •Romanticism
- •Historical Background
- •Part I
- •Step 1: Understanding the Information Historical Background
- •Part I
- •Part II
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •John constable
- •Step 4: Shaping Ideas and Facts in English
- •Part VII the new times
- •Historical Background
- •Part I
- •Step 1: Understanding the Information Historical Background
- •Part I
- •Part II
- •Part III
- •Step 2: Spelling and Vocabulary
- •The twentieth century Historical Background
- •Part I
- •Step 1: Understanding the Information Historical Background
- •Part I
- •Part II
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •Step 4: Shaping Ideas and Facts in English
- •Step 5: Writing an Essay
- •Topics for Your Essays
- •Reference
- •1. Writing technique
- •1.1. How to Start to Write
- •1.2. How to Take Notes
- •1.3. Library Resources for Writing
- •1.4. Effective Sentences
- •1.5. Paragraphing
- •1.6. Paraphrasing
- •2. Written forms
- •2.1. Précis-writing
- •2.2. Synopsis-making
- •2.3. Composition and Essay-Writing
- •3. Elements of style. Expressive means of the english language
- •3.1. Metaphor
- •3.2. Metonymy
- •3.3. Simile.
- •Compare
- •3.4. Epithets
- •Compare
- •3.5. Hyperbole and understatement.
- •3.6. Oxymoron
- •3.6. Irony
- •4. Punctuation
- •4.4. The comma
- •4.5. The semi-colon
- •4.6. The colon
- •4.7. Quotation marks
- •4.8. Apostrophe
- •4.9. Hyphen
- •4.10. Marks of Parenthesis
- •4.11. A series of periods
- •4.12. Punctuating within the Compound Sentences
- •4.13. Punctuating within the Complex Sentence
- •5. Capitalization
- •6. Numbers spelled out or used in figures
- •Appendix 1
- •Appendix 2
- •Dictation 1 Early Years of Christianity
- •Dictation 4
- •Dictation 5 Socrates, Plato, and Aristotle
- •Dictation 6 The Roman Republic
- •Dictation 7 The Gladiators
- •Dictation 8 The Roman Empire
- •Dictation 9 Ancient Rome
- •Dictation 10
- •Keys to
- •Ancient Rome step 1: Understanding the Information
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •Step 4: Shaping Ideas and Facts in English
- •Part II. The Middle Ages step 1: Understanding the Information
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •Part III. The Renaissance
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •Vincenzo perugia
- •Part IV. The Baroque
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •Giovanni Lorenzo bernini
- •Part V. The Enlightenment
- •Step 3: Punctuation and Logic
- •Thomas gainsborough
- •Part VI. Romanticism
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •John constable
- •Part VII. The New Times
- •Step 2: Spelling and Vocabulary
- •The Twentieth Century
- •Step 2: Spelling and Vocabulary
- •Step 3: Punctuation and Logic
- •Resource List
- •Contents
- •Авторы-составители:
1.5. Paragraphing
Very often our Grammar books give the following definition of a sentence: "A group of words so arranged as to express a complete thought is called a sentence". But the definition is true only in a grammatical sense. Take any isolated sentence from any book, and you cannot fail to see how incomplete it is as it stands. There is the proper number of words, the subject and the predicate - all the grammatical rules have been attended to - yet we feel that in many cases we cannot be quite sure about the real meaning. It can be gathered more fully after reading some more sentences proceeding or going after the sentence in question. When several sentences have been so grouped as to make up a whole thought pattern and together form a more or less independent part of a longer composition, they are called a paragraph.
Each paragraph bears the same relation to an article or a chapter that the sentence does to the paragraph. Almost each paragraph has only a modified independence. For its full meaning it depends upon the other paragraphs in the book. If this is not so, it is not a paragraph but a little essay or story by itself.
The paragraph generally contains one leading idea around which supporting details are organized. Thus, conventional paragraphs consist of two parts: The leading idea (or thesis) which is usually contained in a sentence called the topic or key sentence, and supporting details which revolve around this hub idea by means of some other sentences that repeat, explain, contrast or justify the idea.
The structural patterns of paragraphs largely vary. The topic (key) sentence can be located in different parts of the paragraph - at the beginning or in the middle, or at the end of it.
If the key sentence comes at the beginning of the paragraph with all other sentences continuing and developing its idea, we deal with a deductive pattern of the paragraph.
An opposite case with the generalizing (key) sentence coming at the bottom of the paragraph is called an inductive pattern.
Sometimes the key thought in the paragraph occupies a medial position. Such a logical structure is called a pivotal (or inductive-deductive) pattern.
Very often we find another structural pattern which is formed by two key sentences framing the paragraph. One of these initiates the key idea, the other restates it as a generalized conclusion, or renders it in other words. Such a paragraph is called a framed paragraph or a deductive-inductive pattern.
But there are paragraphs that are devoid of any key sentences and consequently all the sentences that go to make up a paragraph like this are of equal semantic value. The main thought underlying the paragraph cannot be borrowed 'ready-made' from the text.
Next comes the question whether paragraphs should be long or short. Paragraphing while writing is individual. The author may be guided by various motives. But the leading principle is always logic. A change of thought (or topic) often signals the beginning of a fresh paragraph.
If we are dealing with events rapidly taking place we must have shorter paragraphs. In ordinary descriptive or argumentative work they ought to be longer. Within limits the modern tendency to shorten paragraphs is to be encouraged. But the danger is that short paragraphs are often made by the simple process of cutting up a long paragraph into bits of the required length. The resulting groups of sentences are no longer paragraphs in any respect but appearance. In consequence of this mechanical shortening of paragraphs some books have a jerky style that interferes with the flow of thought of the reader.
As to the arrangement of sentences in a paragraph, no hard and fast rules can be laid down. It is generally more effective to begin and end the paragraph with shorter sentences, while the middle is occupied with those of more complicated construction. The short opening sentences, as a rule, introduce vividly the key idea of the paragraph, the longer sentences unfold it, and the short closing sentences gather up and clinch what has gone before.
But the paragraphs and the sentences in them are not, of course, quite so clear-cut as that. Any single piece of writing varies in length according to the requirements of each case, exactly as do paragraphs and sentences.