Definition and Examples of Possessive Determiners

Definition and Examples of Possessive Determiners In English sentence structure, a possessive determiner is a kind of capacity wordâ used before a thing to communicate ownership or having a place (as in my phone).â The possessive determiners in English are my, your, his, her, its, our, and their. As Lobeck and Denham call attention to, theres some cover between possessive determiners and possessive pronouns. The essential distinction, they state, is that pronouns supplant full thing phrases. Possessive determiners, then again, need to happen with a thing (Navigating English Grammar, 2014). Possessive determiners are in some cases called possessive modifiers, feeble possessive pronouns, genitive pronouns, possessive determiner pronouns,â or basically possessives. Determiner and Grammar Rules CaseDeterminerGenitiveFirst-Person PronounsGenitiveModificationPersonal PronounPossessive CasePossessive PronounQuantifierSecond-Person PronounsSentence Completion Exercise: Personal Pronouns and Possessive DeterminersThird-Person PronounsUsing the Different Forms of Pronouns Models and Observations Small time, I recall, used to remove his cap and put a match to his hair from time to time, however I don't recollect what it demonstrated, on the off chance that it demonstrated anything by any means, then again, actually he was an intriguing man.(Dylan Thomas, Quite Early One Morning, 1954)Every society respects its live conventionalists and its dead troublemakers.(Mignon McLaughlin, The Complete Neurotics Notebook. Manor Books, 1981Id like to be separated from everyone else with my sandwich for a moment.(Bart Simpson, The Simpsons)He floated off into rest and Janie looked down on him and felt a self-smashing adoration. So her spirit slithered out from its stowing away place.(Zora Neale Hurston, Their Eyes Were Watching God, 1937If a man doesn't stay up with his sidekicks, maybe it is on the grounds that he hears an alternate drummer.(Henry David Thoreau, Walden You should crash and burn as hang over excessively far backward.(James Thurber, The Bear Who Let It AloneThe sextant was old. I thought that it was piled up with an assortment of gramophones and women workboxes in a junkshop. Its metal casing was mottled green-and-dark, the silvering on its mirrors had begun to rankle and strip off.(Jonathan Raban, Sea-Room. For Love Money: Writing, Reading, Traveling, 1969-1987. Collins Harvill, 1987 Youngsters start by cherishing their folks; after a period they judge them; once in a while, if at any point, do they excuse them.(Oscar WildeMy air cushion vehicle is loaded with eels.(John Cleese as the Hungarian in The Hungarian Phrasebook Sketch. Monty Pythons Flying Circus, Dec. 15, 1970Our errand must be to free ourselves by augmenting our hover of empathy to grasp every single living animal and the entire of nature and its beauty.(Albert EinsteinAll cheerful families look like each other, yet each despondent family is troubled in its own way.(Leo Tolstoy, Anna Karenina Possessive Adjective or Determiner? The title  possessive descriptor is in reality more regularly utilized than possessive determiner however the last is an increasingly precise depiction. As a matter of fact, in his vehicle, the word his goes before the thing vehicle and to that degree acts as a descriptive word, yet in *the his vehicle (think about the old vehicle) it demonstrates itself not to be a descriptor; it absolutely doesnt depict the vehicle itself. (Tony Penston, A Concise Grammar for English Language Teachers. TP Publications, 2005) Possessive Pronouns and Possessive Determiners Mostâ possessive determiners areâ similar to their comparing possessive pronouns: her is a possessive determiner, while hers is a possessive pronoun. The possessive determiners his and its are indistinguishable from their comparing possessive pronouns. The capacity in the sentence decides the grammatical form. In The red Toyota is his vehicle, his is a determiner since its presenting the thing expression vehicle. In The red Toyota is his, his is a pronoun since its working as a thing expression. In The organization made this pen, this is a determiner. In The organization made this, its a pronoun since it remains instead of a thing expression.  (June Casagrande, It Was the Best of Sentences, It Was the Worst of Sentences. Ten Speed Press, 2010) [The] development with the possessive pronoun [e.g. a companion of mine] contrasts from the option of possessive determiner thing (for example my companion) for the most part in that it is progressively uncertain. The sentences in (30) be neath outlines this point: (30) a. You know John? A companion of his revealed to me that the food served at that café is awful.(30) b. You know John? His companion disclosed to me that the food served at that eatery is dreadful. The development with the possessive pronoun, in (30a), can be utilized if the speaker hasnt determined and doesnt need to indicate the character of the companion. Conversely, the development with the possessive determiner, in (30b), suggests that the speaker and audience both comprehend what companion is proposed. (Ron Cowan, The Teachers Grammar of English: A Course Book and Reference Guide. Cambridge University Press, 2008)

Sustainability and ethics course Essay Example | Topics and Well Written Essays - 3500 words

Maintainability and morals course - Essay Example It has kept up a consistent development regarding net edge and other money related markers. Nissan requires gaining a point by point thought regarding the dangers and shortcomings that it may confront and have while working productively in the worldwide car industry. As far as discoveries, it tends to be noticed that the supervisory crew of Nissan is proficiently moving in the direction of gathering criticisms from its partners by masterminding meetings, making direct discoursed and talking among others. It very well may be certified that by embracing and executing viable techniques, the organization can conquer its shortcomings and relieve the dangers that emerge during the direct of different activities. It is anticipated that such procedures will contribute into empowering the organization to receive a few noteworthy rewards and infer positive results. Nissan is viewed as a global business association working in the overall car industry. Its vehicles are sold all around under the exchange name of â€Å"Nissan†. In 2013, Nissan disclosed its logo under the steel-blue casing, which separates itself with its image (Nissan Motor Corporation, 2014). Nissan has left its imprint by making wide grouping of vehicles and trucks. It has exchanged these in the brand name of â€Å"Nissan†, â€Å"Datsun†, â€Å"Infiniti† and â€Å"Nismo.† Presently, it is growing its tasks by leading a collusion with Renault; a France based car organization with holding 43.4% offer (Nissan Motor Corporation, 2014). Nissan plans to offer imaginative items, administrations and energy to the clients over the globe wherein it works. At present, the organization has producing outlets in twenty nations and offers support more than 160 nations all through the globe. In offering administrations around the world, Nissan has used the methodology of grasping decent variety to fulfill the needs of assorted clients and furthermore to achieve the feasible development of its

Richard III Behind-the-scenes

Richard III Behind-the-scenes [by Grace Kane 11, Guest Blogger] Yes, everyone; shocking as it may seem, MIT has a thriving student theater scene. Though MIT theater is not as large-scale or well-known as that of its nearby Ivy-league counterpart, there is still a contingent of incredibly talented, committed people who manage to struggle through their exams and psets and still put on a series of fantastic shows each term. This term Ive been incredibly lucky to be a part of a production of Richard III by the MIT Shakespeare Ensemble, one of our four main student theater groups (Musical Theater Guild, Gilbert Sullivan Players, and Dramashop being the other three). The cast and crew (of which many of us are both) are now almost finished with a month of very hard work, excitement, creativity, superhumanly fast costume changes and late-night power-tool construction and are incredibly proud of what weve created. Heres a short behind-the-scenes look at the process of bringing our collective baby, Richard III to the stage. Grace Kane 11 and Chris Smith 12 as Lady Anne and Richard. When most people think of Shakespeare they imagine old English men in ruffs reciting iambic pentameter at arms length to a skull. Nothing could be further from our production, which sets Shakespeares playwritten about a fifteenth-century civil warin an alternate version of modern-day America. Director Susanna Harris Noon says that when reading the play she began to see parallels between the ambitious King Richard IIIs murderous rise to the throne and the power-hungry politicians of today. This created some interesting challenges for both directors, designers, and actors. And, Ill admit, rather appropriate for a theater group that primarily uses its fake Yoric-from-Hamlet skull as a cookie bowl. I asked each of the prod staff how they approached bringing Richard III to life. Starting Out: Envisioning the Play (Susanna Harris Noon, Director) When I first sat down with the script, I was honestly mostly worried about the length. It took me a month to cut down what turns out to be Shakespeares second longest play (next to Hamlet), to a running time of about 2 hours. I started out thinking of all the fun ways to play with setting it in a modern context. A scene in a bar. A press conference. Business meetings. However, some things didnt change (for instance, Richard and his cohorts all wear ceremonial daggers). I love that we changed many of the genders of the characters; having women involved in the politics makes it much more relevant to today. My goal is to direct a show that gives both the actors and the audience something to explore. Performing Shakespeare is absolutely one of the more rewarding experiences an actor can havethe deeper you go into these characters and the text, the more he gives you. Elise Kuo 11 curses the rest of the cast as Mad Margaret. Designing the Show One of the most fun parts of working on a show is being on the design team. The light, set, costume, props, hair make-up, and effects designers all have to work together to bring the directors vision to life, adding quite a bit of their own vision along the way. Some of our team were taught their skills in one of MITs many fantastic theater classes, while others simply joined a theater group and learned by doing. I asked some of them to talk about how they rose to the challenge of designing the show. Lights (Dan Perez 10) As a starting point for the lighting design, I was inspired by the artwork of Shepard Fairey and Frank Miller, among others. Their almost sculptural portraits and use of a restricted color palette seemed like a great foundation for the aesthetic of the alternate United States we were trying to create for Richard III. The elements of both artists work complemented the monochromatic scenic design and the contained use of color in the costume design. By choosing some specific images and collaborating with the director and other designers, the lighting design was driven in a direction much more exciting and compelling than if I wouldve approached the show without any research. It is composed of severly angled lights and shadows that are filled in with saturated colors and graphic textures. Once I had a good sense of what the show should look like and had seen a couple of rehearsals, I created a light plot (a map of the theater detailing where lights should be placed) and chose color filt ers that would achieve the looks of each individual scene. An example of one of the lighting effects used. Scenic Design (Kellas Cameron 10, Set Designer, and Grace Kane 11, Scenic Painter) Scenic desing involves two main challenges: building a set that fulfills the practical needs of the play and also capturing the plays themes and ideas. Because of Richard IIIs modern setting, we were wary of trying to make the set too real for fear of anchoring it to a particular modern-day place or person. The set is stark and clean, providing a perfect backdrop for lights, costumes, and actors to be displayed against. All the set features are there for a purposein some cases several. The tower, for example, doubles as Richards presidential balcony and as the prison where he has his young nephew murdered. Despite the modern setting, we went back to medieval England for symbolic inspirationthe designs on the presidential banners of Richard and his predecessor Edward IV are taken from the original Plantagenet coats of arms. The original hand-sketch of the set layout. Final set. Costume Design (Emily King 09 and Naomi Hinchen 11) One of the biggest challenges in costuming Richard III was dealing with the doubled (and tripled, and quadrupled) roles. Together, the thirteen actors in the cast played twenty-nine distinct partssome of which changed costumes over the course of the play. Add in the modern, White House setting, and its a real challenge to distinguish between two dozen characters running around in suits. We were very concerned about distinguishing between the different characters played by the same actor and so tried to make each costume distinct. For instance, Catesby, Lady Anne, and 2nd Murderer are all played by the same actress. Of these, Catesby wears the closest thing to a suit (though, unlike in the orignal, our Catesby is female). Anne is the only character in a dress, which makes her stand out as a very different personality from all the other suit-wearing characters. And the murderer gives an opportunity to break out of the realm of suits completely. Grace Kane 11 transforms from the aristocratic Lady Anne to ambitious politician Catesby, via a 15-year-old hired murderer. Another challenge was to give visual cues to tie together certain groups of people. The indication of rank we chose to makr the King is a royal purple sash, which allowed us to use color to connect the members of the royal family. Until King Edwards death, Queen Elizabeth wears a shirt of the same color as the sash, and Rivers and Dorset, Elizabeths brother and son, have purple ties. This marks them as members of the same group, and the subsequent loss of the purple garments shows their loss of power following Edwards death. At Richards coronation, he gains the purple sash along with the kingship and the power hes been seeking. Projection Effects (Megan Nimura, MIT Staff: Energy Initiative) One of the greatest challenges of Richard III was the ghost scenea dream sequence where Richard is tormented by the ghosts of his dead victims. Though often cut from productions because of its logistical difficulty, our team decided to take on the challenge. Megan Nimura, who designed and edited the video, explains how it was made. When approaching a scene like the ghost scene in Richard III, a director can choose to play it in many different ways. Because our director, Susanna, wanted to modernize our production, it gave us more creative license with this scene. Susanna decided to attempt a video that would be projected onto the set. We shot all of the actors playing ghosts on one day using only two lights to create more contrast on the faces. We added some make-up to create even more contrast and then made all the decisions about effects in post-production. After choosing the best clips and then splicing them together, we were able to add some very fun visual and audio effects. I worked in collaboration with Susanna to create a cohesive final project with my visionskeletal, vampire-like facesand herscolor-washed and other-worldly floating heads. After adding some of my effects with the color of her vision, we played with audio reverberation and echo effects as well as adding additional audio tracks to emphasi ze certain action words. We then worked with the sound designer in creating a backtrack and intro music. Murdered princes Brianna Conrad 11 and Anna Brunner 12 don ghostly make-up in preparation for the photoshoot. The murdered princes as projected in the final effect. Rehearsal in Progress The rehearsal period for our spring shows is very short, only around four weeks. Its crucial for all the actors to be on the ball for every rehearsal. Particularly important are the fight scenes, which have to be carefully choreographed (here by our fight director, Noel Morales 12) and practiced continually to ensure no one gets hurt. Hired murderer James Tyrrel (Jacob Austin-Brenemann 13) rehearses killing the young Prince of York (Anna Brunner 12). Tech Week: Bringing It All Together Tech week, which for us is now drawing to a close, is the most crazy, hectic part of the whole crazy, hectic process. From Saturday to Wednesday, lights have to be hung, the set has to be built, costumes finished and cues programmed, and the cast has to get used to acting in their peformance space for the first time. This is the part of the process where the whole cast and crew really have to come together and put in all the effort they can to make the show the best it can be. Its tough, but also a whole lot of fun. Part of that might be due to having people you can construct a stage with until 3am, then pset with til 5am while still having a great time Producer Elaina Present 12 having fun with power tools. Technical Director Brianna Conrad 11 and Master Carpenter Paul Romer 12 take a break from construction to survey their set. Hair Make-up Designer Sarah Laderman 12 creating a scar for King Richard (Chris Smith 12) before a dress rehearsal. which, in the end, is what its all about. What really makes the show are the wonderful people that we get to hang out with all through the process and with whom we manage to create something we can all be proud of. RICHARD III opens today and runs Thursday to Saturday March 1113 and 1820. For more information about the show and about the MIT Shakespeare Ensemble in general, visit our website at http://web.mit.edu/ensemble/www/.