grammar workshop series...

Robert Gillespie Academic Skills Centre

Grammar Workshop Series

Fragments

http://www.utm.utoronto.ca/


Lesson for today:

Not everything that looks like a sentence is a sentence. • In the first workshop, we saw when a writer presents a string of words

with a capital at one end and a period at the other, they intend you to

think of the string as a sentence.

• But, unfortunately, not everything that looks like a sentence is a

sentence. For instance, are the following strings of words sentences?

1) Although I love Van Gogh.

2) Going to the museum.

3) In the classroom.

4) Which is his most famous painting.

5) Am his biggest fan.



Sentence Fragments

• The answer is tricky. In spoken English, it’s easy to imagine situations

where the above strings of words could be acceptable as a sentence. For

example: “What are you doing today?” “Going to the museum.”

• However, in written English—and especially formal styles of written

English, such as academic writing—none of the above strings of words

would be acceptable as sentences. They would all be classified as

sentence fragments. A sentence fragment is something that looks like a

sentence (capital and period), but is missing a subject, a predicate, or

both, or has a subordinating conjunction (check the last workshop if

you’ve forgotten what any of these are).



A short quiz …

Identify each of the following as either a fragment or a complete

sentence.

• 1) Vincent Van Gogh being a Dutch Post-Impressionist artist.

• 2) Vincent Van Gogh is a Dutch Post-Impressionist artist.

• 3) Vincent Van Gogh, being a Dutch Post-Impressionist artist,

is studied by many art history students.

• 4) And Van Gogh’s paintings and drawings include some of

the world's best known, most popular and most expensive

pieces.



Answer

• Answer: 2 and 3 are sentences, 1 and 4 are fragments.

• How would you fix 1 and 4?



Checking for Sentence Fragments

Here are three good tests.

1)Do you have a dependent clause without an

independent clause? If yes, you have a

sentence fragment.

2)Is there a verb? If no … sentence fragment.

3)Is there a subject? Again, if no … sentence

fragment.



Test 1: Dependent clause? Dependent Clauses Review:

• A dependent clause is a group of words that contains a subject and verb

but does not express a complete thought; rather, it contextualizes or

modifies another thought.

• A dependent clause has a subordinating conjunction, a word added to the

beginning of an independent clause that makes it into a dependent

clause.

• Some common subordinating conjunctions include after, although, as, as

if, because, before, even if, even though, if, in order to, since, though,

unless, until, whatever, when, whenever, whether, and while



Test 1 continued

So if you wrote, “When Van Gogh cut off the lobe of his left ear during some sort of seizure on 24 December 1888,” you could fix it one of two ways.

a) By taking out the subordinating conjunction and thus turning

the dependent clause into an independent clause: “Van Gogh

cut off the lobe of his left ear during some sort of seizure on

24 December 1888.”

b) By adding an independent clause: “When Van Gogh cut off

the lobe of his left ear during some sort of seizure on 24

December 1888, he was suffering from a mental illness.”



Test 2: Is there a verb?

Say you wrote, “Van Gogh cut off the lobe of his left ear during some sort of

seizure on 24 December 1888. Mental problems afflicted him. Particularly in

the last few years of his life.”

You can fix that last phrase by integrating it with the preceding sentence:

“Van Gogh cut off the lobe of his left ear during some sort of seizure on 24

December 1888. Mental problems afflicted him, particularly in the last few

years of his life.”

Or you could add a verb and subject: “Van Gogh cut off the lobe of his left ear

during some sort of seizure on 24 December 1888. Mental problems afflicted

him. His problems were particularly bad in the last few years of his life.”



Test 2a: Is there a complete verb?

For instance, you might have written: “Van

Gogh's colour vision affected by his love of

absinthe, a liquor that contains a neurotoxin

called thujone.”

How would you fix this?

Or how about this: “The painting been called ‘a

masterpiece’ by some of his strongest critics”?



Test 3: Is there a subject?

• Say you wrote this: “Van Gogh's depression deepened, and on

27 July 1890, at the age of 37, he walked into the fields. Shot

himself in the chest with a revolver.”

• As above, you could fix it by integrating it with the previous

sentence: “Van Gogh's depression deepened, and on 27 July

1890, at the age of 37, he walked into the fields and shot

himself in the chest with a revolver.”

• Or you could add a subject: “Van Gogh's depression

deepened, and on 27 July 1890, at the age of 37, he walked

into the fields. It was there that he shot himself in the chest

with a revolver.”



Practice Question 1

Choose the best revision:

When Van Gogh drew and painted water-colours as a child, though very few of these works survive, and his authorship of these works is questionable.

A) Van Gogh’s drawings and paintings as a child, though very few of these works survive, and his authorship of these works is questionable.

B) Van Gogh drew and painted water-colours as a child, though very few of these works survive, and his authorship of these works is questionable.

C) When Van Gogh drew and painted water-colours as a child, though very few of these works survive, and his authorship of these works is questionable.



Practice Question 1: Answer

When Van Gogh drew and painted water-colours as a child, though very few of these works survive, and his authorship of these works is questionable.

A) Van Gogh’s drawings and paintings as a child, though very few of these works survive, and his authorship of these works is questionable.

B) Correct: Van Gogh drew and painted water-colours as a child, though very few of these works survive, and his authorship of these works is questionable.

C) When Van Gogh drew and painted water-colours as a child, though very few of these works survive, and his authorship of these works is questionable.



Practice Question 2 Choose the best revision:

• When he committed himself to art as an adult (1880), starting at the elementary level by copying the "Cours de dessin," edited by Charles Bargue.

A) When he committed himself to art as an adult (1880), he started at the elementary level by copying the "Cours de dessin," edited by Charles Bargue.

B) Committing himself to art as an adult (1880), starting at the elementary level by copying the "Cours de dessin," edited by Charles Bargue.

C) When he committed himself to art as an adult (1880), starting at the elementary level by copying the "Cours de dessin," edited by Charles Bargue.




When he committed himself to art as an adult (1880), starting at the elementary level by copying the "Cours de dessin," edited by Charles Bargue.

A) Correct: When he committed himself to art as an adult (1880), he started at the elementary level by copying the "Cours de dessin," edited by Charles Bargue.

B) Committing himself to art as an adult (1880), starting at the elementary level by copying the "Cours de dessin," edited by Charles Bargue.

C) When he committed himself to art as an adult (1880), starting at the elementary level by copying the "Cours de dessin," edited by Charles Bargue.



Practice Question 3


• Van Gogh’s uncle, Cornelis Marinus, (owner of a renowned gallery of contemporary art in Amsterdam) asking him to provide drawings of the Hague.

A) Then Van Gogh’s uncle, Cornelis Marinus, (owner of a renowned gallery of contemporary art in Amsterdam) asking him to provide drawings of the Hague.

B) Van Gogh’s uncle, Cornelis Marinus, (owner of a renowned gallery of contemporary art in Amsterdam) asked him to provide drawings of the Hague.

C) Van Gogh’s uncle, Cornelis Marinus, (owner of a renowned gallery of contemporary art in Amsterdam) asking him to provide drawings of the Hague.




• Van Gogh’s uncle, Cornelis Marinus, (owner of a renowned gallery of contemporary art in Amsterdam) asking him to provide drawings of the Hague.

A) Then Van Gogh’s uncle, Cornelis Marinus, (owner of a renowned gallery of contemporary art in Amsterdam) asking him to provide drawings of the Hague.

B) Correct: Van Gogh’s uncle, Cornelis Marinus, (owner of a renowned gallery of contemporary art in Amsterdam) asked him to provide drawings of the Hague.

C) Van Gogh’s uncle, Cornelis Marinus, (owner of a renowned gallery of contemporary art in Amsterdam) asking him to provide drawings of the Hague.



Practice Question 4


• In spring 1888, when he arranged his Flowering Orchards into triptychs, and began a series of figures which found its end in The Roulin Family.

A) When he arranged in spring 1888 his Flowering Orchards into triptychs, and began a series of figures which found its end in The Roulin Family.

B) In spring 1888, arranging his Flowering Orchards into triptychs, and beginning a series of figures which found its end in The Roulin Family.

C) In spring 1888, he arranged his Flowering Orchards into triptychs, and began a series of figures which found its end in The Roulin Family.




In spring 1888, when he arranged his Flowering Orchards into triptychs, and began a series of figures which found its end in The Roulin Family.

A) When he arranged in spring 1888 his Flowering Orchards into triptychs, and began a series of figures which found its end in The Roulin Family.

B) In spring 1888, arranging his Flowering Orchards into triptychs, and beginning a series of figures which found its end in The Roulin Family.

C) Correct: In spring 1888, he arranged his Flowering Orchards into triptychs, and began a series of figures which found its end in The Roulin Family.



Practice Question 5 Choose the best revision:

• And finally, when Gauguin had consented to work and live in Arles side by side with Vincent, he started to work on the The Décoration for the Yellow House, probably the most ambitious effort he ever undertook.

A) Finally, when Gauguin had consented to work and live in Arles side by side with Vincent, he started to work on the The Décoration for the Yellow House, probably the most ambitious effort he ever undertook.

B) Finally, with Gauguin consenting to work and live in Arles side by side with Vincent, and starting to work on the The Décoration for the Yellow House, probably the most ambitious effort he ever undertook.

C) And finally, when Gauguin had consented to work and live in Arles side by side with Vincent, he started to work on the The Décoration for the Yellow House, probably the most ambitious effort he ever undertook.



Practice Question 5: Answer And finally, when Gauguin had consented to work and live in

Arles side by side with Vincent, he started to work on the The Décoration for the Yellow House, probably the most ambitious effort he ever undertook.

A) Correct: Finally, when Gauguin had consented to work and live in Arles side by side with Vincent, he started to work on the The Décoration for the Yellow House, probably the most ambitious effort he ever undertook.

B) Finally, with Gauguin consenting to work and live in Arles side by side with Vincent, and starting to work on the The Décoration for the Yellow House, probably the most ambitious effort he ever undertook.

C) And finally, when Gauguin had consented to work and live in Arles side by side with Vincent, he started to work on the The Décoration for the Yellow House, probably the most ambitious effort he ever undertook.



Practice Question 6


• Being a hard worker, Van Gogh improved the lighting of his atelier (studio) by installing variable shutters, and experimented with a variety of drawing materials.

A) Being a hard worker, Van Gogh improved the lighting of his atelier (studio) by installing variable shutters, and experimented with a variety of drawing materials.

B) But being a hard worker, Van Gogh improved the lighting of his atelier (studio) by installing variable shutters, and experimented with a variety of drawing materials.

C) While working hard, improving the lighting of his atelier (studio) by installing variable shutters, and experimenting with a variety of drawing materials.




Being a hard worker, Van Gogh improved the lighting of his atelier (studio) by installing variable shutters, and experimented with a variety of drawing materials.

A) Correct: Being a hard worker, Van Gogh improved the lighting of his atelier (studio) by installing variable shutters, and experimented with a variety of drawing materials.

B) But being a hard worker, Van Gogh improved the lighting of his atelier (studio) by installing variable shutters, and experimented with a variety of drawing materials.

C) While working hard, improving the lighting of his atelier (studio) by installing variable shutters, and experimenting with a variety of drawing materials.



Practice Question 7


• The paintings from the Saint-Rémy period are brilliant. Often characterized by swirls and spirals.

A) The paintings from the Saint-Rémy period are brilliant, often characterized by swirls and spirals.

B) Often characterized by swirls and spirals, the paintings from the Saint-Rémy period are brilliant.

C) A and B




The paintings from the Saint-Rémy period are brilliant. Often characterized by swirls and spirals.

A) The paintings from the Saint-Rémy period are brilliant, often characterized by swirls and spirals.

B) Often characterized by swirls and spirals, the paintings from the Saint-Rémy period are brilliant.

C) A and B



Practice Question 8


• The patterns of luminosity in paintings from the Saint-Rémy period shown to conform to Kolmogorov's statistical model of turbulence.

A) The patterns of luminosity in paintings from the Saint-Rémy period showing to conform to Kolmogorov's statistical model of turbulence.

B) Since the patterns of luminosity in paintings from the Saint-Rémy period shown to conform to Kolmogorov's statistical model of turbulence.

C) The patterns of luminosity in paintings from the Saint-Rémy period have been shown to conform to Kolmogorov's statistical model of turbulence.




The patterns of luminosity in paintings from the Saint-Rémy period shown to conform to Kolmogorov's statistical model of turbulence.

A) The patterns of luminosity in paintings from the Saint-Rémy period showing to conform to Kolmogorov's statistical model of turbulence.

B) Since the patterns of luminosity in paintings from the Saint-Rémy period shown to conform to Kolmogorov's statistical model of turbulence.

C) Correct: The patterns of luminosity in paintings from the Saint-Rémy period have been shown to conform to Kolmogorov's statistical model of turbulence.



Practice Question 9


• At various times in his life Van Gogh painted the view from his window; this culminating in the great series of paintings of the wheat field he could see from his adjoining cells in the asylum at Saint-Rémy.

A) At various times in his life Van Gogh painted the view from his window, this culminated in the great series of paintings of the wheat field he could see from his adjoining cells in the asylum at Saint-Rémy.

B) At various times in his life Van Gogh painted the view from his window; this culminated in the great series of paintings of the wheat field he could see from his adjoining cells in the asylum at Saint-Rémy.

C) A or B



Practice Question 9: Answer At various times in his life Van Gogh painted the view from

his window; this culminating in the great series of paintings of the wheat field he could see from his adjoining cells in the asylum at Saint-Rémy.

A) At various times in his life Van Gogh painted the view from his window, this culminated in the great series of paintings of the wheat field he could see from his adjoining cells in the asylum at Saint-Rémy.

B) Correct: At various times in his life Van Gogh painted the view from his window; this culminated in the great series of paintings of the wheat field he could see from his adjoining cells in the asylum at Saint-Rémy.

C) A or B



Practice Question 10


• Because the French Fauves, including Henri Matisse, extended both Van Gogh’s use of colour and freedom in applying it, as did German Expressionists in the Die Brücke group.

A) Because the French Fauves, including Henri Matisse, extended both Van Gogh’s use of colour and freedom in applying it, as did German Expressionists in the Die Brücke group, Van Gogh’s fame has grown.

B) Because the French Fauves, including Henri Matisse, extended both Van Gogh’s use of colour and freedom in applying it, as did German Expressionists in the Die Brücke group.

C) none of the above




Because the French Fauves, including Henri Matisse, extended both Van Gogh’s use of colour and freedom in applying it, as did German Expressionists in the Die Brücke group.

A) Correct: Because the French Fauves, including Henri Matisse, extended both Van Gogh’s use of colour and freedom in applying it, as did German Expressionists in the Die Brücke group, Van Gogh’s fame has grown.

B) Because the French Fauves, including Henri Matisse, extended both Van Gogh’s use of colour and freedom in applying it, as did German Expressionists in the Die Brücke group.

C) none of the above


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