
- •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:
4.10. Marks of Parenthesis
(1) A real parenthesis, that is, a phrase or a clause independent of the general construction of the sentence, is usually indicated by being enclosed within brackets ( ).
The whole mass of material wealth produced in society over a specific period (for example, a year) constitutes the gross social product.
(2) Very often to indicate a parenthesis you may use dashes.
Even nature itself - woods, meadows, the Earth's atmosphere - is transformed under the impact of social practice.
(3) Another use of the dash is to indicate that what follows it is of special significance, or is not natural or expected outcome of what goes before.
For my birthday I got a sweater, a chocolate and - a camera.
Removing envelope after envelope with ever increasing eagerness he finally disclosed - his own letter.
(4) In an informal style (especially personal letters), many people use dashes instead of colons or semi-colons.
There are three things I can never remember - names, faces, and I've forgotten the other.
We had a great time in the Caucasus - the kids really enjoyed it.
4.11. A series of periods
A series of periods (...) is used to indicate the author's intentional omission of a word or some words within a sentence. This punctuation is also used to express a character's hesitation in expressing this or that idea.
She was like a person so dazed by the horror of what has happened that he walks away – anywhere, as though by walking away he could escape... (K. Mansfield)
N o t e: When the omission comes at the end of a sentence, four periods are used.
She hardly dared to look into the cold mirror – but she did look, and it gave her back a woman, radiant, with smiling, trembling lips, with big, dark eyes and an air of listening, waiting for something ... divine to happen ... that she knew must happen ... infallibly. (K. Mansfield)
4.12. Punctuating within the Compound Sentences
Here are some rules which should be observed in writing:
(1) Use a comma to separate coordinate clauses joined by a coordinating conjunction (and, but, or, nor, for, yet, so, etc.)
He didn't like being away from his wife and the kids, and he was sore and grouchy most of the time. (E. Hemingway)
Then Joe and Huck had another swim, but Tom would not venture .... (M. Twain)
All the village flocked to the courthouse the next morning, for this was to be the great day. (M. Twain)
E x c e p t i o n s:
(a) In compound sentences, when one or both main clauses are very short, you may omit the comma.
He went in and the conductor swung up and the train went out. (E. Hemingway)
We came around to the front of the house and there standing in the doorway was Hogan. (E. Hemingway)
(b) You may use a semicolon to separate coordinate clauses joined by a coordinating conjunction, especially when you have already used commas within the clauses themselves.
Tom found himself writing "Becky" in the sand with his big toe; but he scratched it out, and was angry with himself for his weakness. (M. Twain)
He liked me and we got along fine together; and he liked Hogan, but after a while Soldier Bartlett commenced to get on his nerves. (E. Hemingway)
(c) You may use a semicolon in place of a comma to separate long coordinated clauses or to indicate a stronger pause between clauses.
We haven't all had the good fortune to be ladies; we haven't all been generals, or poets, or statesmen; but when the toast works down to the babies, we stand on common ground. (M. Twain)
The tune lifted, lifted, the light shone; and it seemed to Miss Brill that in another moment all of them, all the whole company, would begin singing. (K. Mansfield)
(2) Use a semicolon to separate coordinated clauses not joined by a coordinating conjunction.
Our Else was looking at her with big, imploring eyes; she was frowning; she wanted
to go. (K. Mansfield)
Children begin by loving their parents; as they grow older they judge them; sometimes they forgive them. (0. Wilde)
To educate a man is to educate an individual; to educate a woman is to educate a family.
(3) Use a semicolon to separate coordinate clauses joined by a conjunctive adverb. (however, moreover, consequently, indeed, then).
Nobody had ever seen her smile; moreover, she scarcely ever spoke.
As a matter of fact he was proud of his room; indeed, he liked to have it admired, especially by his old friends.
Soon after that people began coming in streams; then the band struck up; the hired waiters ran from the house to the marquee.
N o t e that when the conjunctive adverb comes within the second clause instead of at the beginning, the coordinate clauses still must be separated by a semicolon, and the conjunctive adverb set off by commas.
We spend millions of rubles for road-building; our roads, however, are rapidly deteriorating.
(4) Use a colon to separate two coordinate clauses, the second of which amplifies or explains the first.
A gentleman of our day is one who has money enough to do what every fool would do if he could afford it: that is, consume without producing. (G.B. Shaw)
The old head lifted: two points of light quivered in the old eyes. (K. Mansfield)
N o t e: Some writers prefer to use a dash instead of a colon in this case.
That was a dreadful place - her first place. (K. Mansfield)
She described where she'd been - everywhere, here, there, along by the sea. (K. Mansfield)