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Essay verb - Proofreading and proofediting aid from top specialists

Back the my seventh graders' review task, I make the next step harder by pointing out to them the formula that Cleary uses with his title: "to" and a one-syllable verb + "to" and a one-syllable verb + "to" and a three-syllable verb--and it makes for a nice rhythm when you read it aloud. I offer them a writer's notebook challenge, which I offer extra credit for every month to every student who accepts the challenge, that I want to see--at least--three "Tri-Verb Rhyming Comics." They follow the syllable pattern that Cleary used exactly, and they have to include a picture that helps me to visualize the narrative story they would tell based on their three verbs. For , which is now a cherished page in my fancy writer's notebook, I have five examples, and I still don't know which one I like the best; I think each of them could become charming stories in their own way. Remember, that's the purpose of a good writer's notebook: to house potential ideas (no matter how short) that can become fun pieces of more detailed writing later on.

When editing your essay for verb tense, it is important …

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First, we should make some distinctions. We all now use the computer to send messages to our friends and to others with whom we have dealings. This sort of communication is not different in any fundamental respect from the old practice of letter writing, except for its speed. Of course, we should not regard speed as a trivial feature. The rapidity of modern communications does not merely accelerate the process whereby relationships are formed and severed; it inevitably changes how those relationships are conducted and understood. Absence is less painful with the Internet and the telephone, but it also loses some of its poignancy; moreover, e-mails are seldom composed as carefully as letters, since the very slowness with which a letter makes its way to its destination prompts us to put more of our feelings into the words. Still, e-mail is reality, not virtual reality, and the changes it has brought about are changes in real communication between real people.

So, how can we get our students to reduce or in their essays to create precision of meaning, specificity, clarity, and just good old sentence variety? How do we get our students to use these vivid “show me” verbs instead? Try these five strategies:

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In his efforts to “set Hegel on his feet,” the young Marx drew an important contrast between the true freedom that comes to us through relationships with other subjects and the hidden enslavement that comes when our ventures outwards are not towards subjects but towards objects. In other words, he suggested, we must distinguish the realization of the self, in free relations with others, from the alienation of the self in the system of things. That is the core of his critique of private property, and it is a critique that is as much bound up with allegory and storytelling as the original Hegelian arguments. In later writings the critique is transformed into the theory of “fetishism,” according to which people lose their freedom through making fetishes of commodities. A fetish is something that is animated by a transferred life. The consumer in a capitalist society, according to Marx, transfers his life into the commodities that bewitch him, and so loses that life — becoming a slave to commodities precisely through seeing the market in goods rather than the free interactions of people; as the place where his desires are brokered and fulfilled.

What we are witnessing is a change in the attention that mediates and gives rise to friendship. In the once normal conditions of human contact, people became friends by being in each other’s presence, understanding all the many subtle signals, verbal and bodily, whereby another testifies to his character, emotions, and intentions, and building affection and trust in tandem. Attention was fixed on the other — on his face, words, and gestures. And his nature as an embodied person was the focus of the friendly feelings that he inspired. People building friendship in this way are strongly aware that they appear to the other as the other appears to them. The other’s face is a mirror in which they see their own. Precisely because attention is fixed on the other there is an opportunity for self-knowledge and self-discovery, for that expanding freedom in the presence of the other which is one of the joys of human life. The object of friendly feelings looks back at you, and freely responds to your free activity, amplifying both your awareness and his own. As traditionally conceived, friendship was ruled by the maxim “know thyself.”

Verb in essay
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essay - Dizionario inglese-italiano WordReference

eal friendship shows itself in action and affection. The real friend is the one who comes to the rescue in your hour of need; who is there with comfort in adversity and who shares with you his own success. This is hard to do on the screen — the screen, after all, is primarily a locus of information, and is only a place of action insofar as communication is a form of action. Only words, and not hands or the things they carry, can reach from it to comfort the sufferer, to ward off an enemy’s blows, or to provide any of the tangible assets of friendship in a time of need. It is arguable that the more people satisfy their need for companionship through relationships carried out on the screen, the less will they develop friendships of that other kind, the kind that offers help and comfort in the real trials of human life. Friendships that are carried out primarily on the screen cannot easily be lifted off it, and when they are so lifted, there is no guarantee that they will take any strain. Indeed, it is precisely their cost-free, screen-friendly character that attracts many people to them — so much so, students of mine tell me, that they fear addiction, and often have to forbid themselves to go to their Facebook account for days on end, in order to get on with their real lives and their real relationships.

The Verb Recognize a verb when you see one

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Verbs are a necessary component of all sentences

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