Errors in the construction of complex syntactic integers. Syntactic errors X. Generalization of what has been learned
Russian language (9th grade)
Russian literature lesson
Subject: Complex syntactic whole. Linguistic analysis of text (towards the formulation of the problem)
Goals: repeat and summarize information known to students about the text, its structure, improve the ability to conduct language analysis text, work on the development of students’ communicative abilities, on improving their language skills, introduce the concept of STS (microtext) using the example of text excerpts from the works of A. S. Pushkin, M. Yu. Lermontov, N. V. Gogol; using elements of creative reading, to educate students to be attentive, thoughtful readers, capable of grasping and perceiving the features of the writer’s style; continue work on students’ speech culture.
Equipment: textbook “Russian language: Textbook for 9th grade. with Russian language of instruction" /E.P. Goloborodko and others / - K.: Osvita, 2002.; textbook of literature edited by Teplinsky (9th grade), notes on the board, tables “Language and Speech”, “Text”, “Structural means of SSC”.
Lesson type: formation lesson communication skills students with elements of generalization repetition.
The language of verbal art is a unique system of verbal and artistic forms..., their meanings and functions and the categories reflected in them; in fiction, this system arises on the basis of a synthesis of the communicative function of literary and colloquial language with the expressive and figurative function.
V. V. Vinogradov
Lesson progress:
I. Organizational moment.
II. Teacher's opening speech.
Today in class, on the one hand, we are summing up a long, two-year conversation about the syntax of the Russian language. On the other hand, we will try to ascend to a higher level of your intellectual development. Let's get acquainted with a new generalizing concept - a complex syntactic whole, and introduce it into your everyday life.
/Write down the date, topic, epigraphs of the lesson in a notebook/
The first step towards this will be vocabulary and semantic work.
III. Vocabulary-semantic work
Text, topic, main idea of the statement, complex syntactic whole (CCU), sequential connection, parallel connection, methods of constructing text, linguistic means.
IV. Message about the topic and objectives of the lesson.
Why do we need to expand knowledge in this area? What is the practical significance of the material presented to you in today's lesson? We will try to answer these questions at the end of the lesson. In the meantime, let’s think about how we communicate with each other. Sounds? In words? Word combinations? No. And not even proposals.
/Address to Part III of the table “Language and Speech”/
People create statements and communicate through texts (micro- and macrotexts, monologues, dialogues and polylogues). And the concept of SSC, which is new to you, is nothing more than a microtext. A statement, a microtext, is small, capacious information.
You gain information in different areas of knowledge through texts. Their volume and focus are constantly varying. You will leave school into adulthood not only with a certain amount of knowledge, but also with the ability to work with a book and text. We will continue to learn this skill.
V. Text. Repetition.
1. Let's remember what a text is.
/Students' answers./
Let's compare your ideas about the text with the scientific interpretation of this term.
2. Working with the “Text” table. /"RYAL in medium educational institutions Ukraine", No. 2, 1988, p. 36/
/Students’ work in groups: compiling a monologue statement by each study group; performance by 1-2 groups of students; additions to other groups/
3. Teacher's generalization.
A text is a detailed statement consisting of interconnected sentences. In modern linguistics, a text is considered as a communicative unit, the main features of which are semantic integrity and coherence. SSC also talks about this. 
VI. Complex syntactic whole. Definition of the concept.
A complex syntactic whole is a combination of several sentences that are closely interrelated in meaning and syntactically. STS is nothing more than microtext. The organization of microtext is stable; it depends on the content, style, and author’s manner.
It means that they talk about you as a knowledgeable, pleasant interlocutor, that you have the correct in writing, you need to learn to stand up for your statements, you need to learn to read texts logically correctly. And it’s easier to start doing this with SSC.
VII. Working with deformed text.
1. Listen to an example. Try to determine what you will hear: a text or a set of sentences.
/Teacher reading a deformed text (Teplinsky. “Literature. 9th grade”/
And now, in the 9th grade, we will talk (and perhaps even argue) about the fate of Pushkin’s heroes Eugene Onegin and Tatyana Larina... Pushkin enters our consciousness from early childhood, from fairy tales that we know by heart, not thinking about the fact that someone composed them: it seemed that they had always existed, that they were just part of our world, and it had no beginning and no end. I would like to believe that Pushkin will remain with you forever, because he is inexhaustible, just as life itself is inexhaustible. And then Pushkin’s wonderful lines about nature appear in our lives, and his poems about love begin to interest and excite us...
2. Try to restore the text and write it down in a notebook.
/Students’ work on text restoration. Writing text in a notebook.
Individual task. Retelling of the restored text. /1 – 2 students/
3. Did you recognize the text? Where did it come from?
The name Pushkin is well known to every person who speaks Russian. You are also familiar from the biography of Pushkin you read for your literature lesson, from what you read in high school prose and poetry. Which Pushkin works are you familiar with? Which lines of Pushkin’s poetry became your favorite? Can you recite them by heart?
/Reading by heart the poems of A. S. Pushkin,
teacher assessment expressive reading students/
We will continue the conversation about Pushkin and his work in literature lessons. Now let's return to the text again. We have restored the text and will analyze it.
VIII. Holistic text analysis.
1. Familiarization with the plan for a holistic text analysis.
Holistic text analysis plan
Style and type of speech.
Semantic connection of sentences in SSC.
Figurative language used by a writer to express his thoughts.
Morphological means of communication in the STS (the predominance of which parts of speech you observe and what their semantic load is).
Intonation of the statement.
2. Distribution of tasks between study groups of students.
Our time is limited, so we will try to present the text in its holistic analysis in fragments:
Fragment 1. Theme, the main idea of the microtext.
Fragment 2 . Style and type of speech. Semantic connection of sentences. /Use the hint tables in the textbook “Russian Language: Textbook for 9th grade. with Russian language of instruction” / E.P. Goloborodko and others/
Fragment 3. Figurative means of language used by the writer to express his thoughts; morphological means of communication in the SSC.
Fragment 4. Syntactic analysis of microtext.
Individual task. Syntactic analysis of the sentence indicated by the teacher from the reconstructed text.
Fragment 5. Orthographic analysis of the text (pay attention to spellings, compose a dictionary work on the text, comment on spellings).
Example vocabulary work:
WITH O knowledge, with ra nn his childhood, (not) wondering who - then h at de sn s n Ushkin lines; P Ushkin, int. e r e With ova T b, cla ss, X O body would, n aw always, (n e)we'll exhaust it And know
3. Collective work in groups - collective compilation of a holistic analysis of the text.
4. Conversation - text analysis.
/Each group reports on the work done./
IX. Independent work on text analysis.
You have already completed one part of the work in the lesson. And it seems to me that you can try to take independent steps in research work on text analysis. Use the table “Structural means of the SSC”.
"Structural means of the SSC"
_____________________________________________________________
Lexical: Morphological: Syntactic: Rhythmic-melodic
/intonation/
Repetition - correlation of species - word order and pre-
individual words; tense forms of verbs;
Synonyms, including predicates. - unions in the affiliation
number of contextual meanings;
new; - particles;
Personal and index - - use of circumstances -
nal pronouns; bodies (mainly
Pronominal but place and time);
adverbs, etc. - introductory words and
offers;
Parallelism is built
proposals;
Incompleteness of individual
proposals.
1. Working with microtext.
My mother's genealogy is even more curious. Her grandfather was a black man, the son of a sovereign prince. The Russian envoy in Constantinople somehow took him out of the seraglio, where he was kept as an amanate, and sent him to Peter the Great along with two other arabs. The Emperor baptized little Ibrahim in Vilna, in 1707, with the Polish queen, Augustus's wife, and gave him the surname Hannibal.
/Each group presents its analysis of the text/
Individual work.
● Formulate questions for the text (5 – 7 questions). Give answers to them.
/The task is performed by 2 – 3 students of primary and intermediate levels of competence./
● Compose a dialogue (6 – 10 replicas) - exchange of opinions about the text - proof that this microtext is SSC. /1 – 2 pairs./
2. Checking the completion of an individual task:
Reading composed questions based on the text /1 – 2 students read out the questions, the rest show the completion of the task in a notebook/;
Holistic analysis of the text /commentary is given by 1 – 2 study groups, other groups supplement/;
Reading, acting out dialogues /1 – 2 pairs/.
X. Generalization of what has been learned.
How did you understand what SSC is?
Are microtext and SSC the same thing?
Will today's lesson help you recognize Pushkin's works, even in individual passages, by their style and structure? Try to find out.
2. Work with excerpts from texts by A. S. Pushkin, M. Yu. Lermontov, N. V. Gogol.
● He was a nice guy, I dare to assure you; just a little strange. After all, for example, in the rain, in the cold, hunting all day; everyone will be cold and tired - but nothing to him. And another time he sits in his room, smells the wind, assures him that he has a cold; the shutter knocks, he shudders and turns pale; and with me he went to hunt wild boar one on one; It happened that you wouldn’t get a word for hours at a time, but sometimes as soon as he started talking, you’d burst your stomach with laughter... Yes, sir, he was very strange, and he must have been a rich man: how many different expensive things he had! .
● Only one person belonged to our society, not being a military man. He was about thirty-five years old, and for that we considered him an old man. Experience gave him many advantages over us; Moreover, his usual gloominess, harsh disposition and evil tongue had a strong influence on our young minds. Some kind of mystery surrounded his fate; he seemed Russian, but had a foreign name. He once served in the hussars, and even happily; no one knew the reason that prompted him to resign and settle in a poor town, where he lived both poorly and wastefully: he always walked on foot, in a worn black frock coat, and kept an open table for all the officers of our regiment.
● In the chaise sat a gentleman, not handsome, but not bad-looking either, neither too fat nor too thin; One cannot say that he is old, but not that he is too young. His entry made absolutely no noise in the city and was not accompanied by anything special; only two Russian men, standing at the door of the tavern opposite the hotel, made some comments, which, however, related more to the carriage than to those sitting in it.
Do you agree that knowledge of the SSC will help an attentive reader understand the text he is reading? Let's check this in literature lessons.
XI. Lesson summary. Assessing students' knowledge and skills.
Homework: write a complex sentence with different types connections from A. S. Pushkin’s poem “Monument” or “To Chaadaev” and perform a complete syntactic analysis of the written sentence.
§ 218. Errors in the construction of complex syntactic integers
A complex syntactic whole is a unit of text, therefore, when constructing it, two main characteristics of the text must be taken into account: thematic And connectivity. Ignoring this provision leads to the appearance of stylistic errors and shortcomings.
1. Shift in presentation plan lies in the fact that, having begun to write on one topic, about one subject of speech, then, when constructing a complex syntactic whole (prose stanza), the author deviates from the topic and jumps to another. For example: Lyrics... How difficult it is to define them! What does the poem mean? Perhaps no other literary genre does not have such a vague definition. The lyrics were constantly questioned. Poets themselves often think about the meaning and purpose of lyrics and why they write poetry. The reasons turn out to be as different as poetry itself. Some write a message, for others “the purpose of the verse is the reader,” others admit that they write only for themselves, while others unshakably believe in the impact of lyrics, believing that it helps to reduce evil and increase the amount of good(From newspapers). At the beginning of the stanza the question is posed: what is lyrics? Starting from the fourth sentence, the author explains why poets write poetry.
To correct this or a similar stanza, the author needs to determine for himself the theme (micro-theme) that he wants to develop and bring his thought to its logical conclusion. In the part of the stanza where he moves on to another topic, it is recommended to create a paragraph (red line).
2. Skipping logical connections between the sentences included in the stanza leads to the absence of a causal connection between them. For example: Along Sakmara, cutting through the muddy water with its mighty chest, an old elk swam. Having emerged onto a deserted steppe shore, he shook himself off, raised his proud head and sensitively moved his large ears. Without catching any suspicious noises (and moose, as you know, are blind), slowly walked towards the forest belt(From newspapers). There is no connection between the fact that the moose did not catch suspicious rustling noises (hearing) and the fact that moose are blind (vision). Restoration of the missing logical link is required: ...and moose, as you know, have sensitive hearing, compensating for their natural blindness.
3. Incorrect paragraph division of the text significantly complicates the perception of prose stanzas. Compositional division helps to more easily perceive the content, correctly place logical accents, and follow the development of the author’s thought. The following text can be divided into paragraphs in different ways depending on the allocation of prose stanzas. But without such division, its perception becomes much more difficult. For Vysotsky, there are no forbidden topics; he fearlessly, with a courage that aroused the envy of many, wrote and sang about everything that worried him. But this is freedom, which is ensured morally, by an exact attitude towards an object or phenomenon. Z Vysotsky’s lyrical hero is morally significant and attractive also because you can rely on someone like him - he won’t let you down, you won’t be lost with him. Morality is ensured by male character - a phenomenon, you see, not the most common in our time. Z Vysotsky not only records, conveys, reflects the drama of life. He is dramatic himself, by the nature of his objectivity, individuality, and talent. Everything he did and everything he achieved was out of restlessness, from the feeling of anxiety that did not leave him. Z The dramatic, according to Pushkin, is associated with “passions and outpourings of the human soul.” In full accordance with this precise observation, Vysotsky, at a time when half-whispers, on the one hand, and pop noisiness, on the other, dominated, began to speak and sing in an “open voice,” passionately, hysterically, sometimes turning to shouting. The way people sing at home, in a free, relaxed environment not constrained by strict rules(V. Tolstykh). Special icon Z The paragraph division of the text is indicated.
Figure(translated from Latin as “outline, appearance, figure of speech”) is a syntactic construction designed to influence the listener and reader. If tropes are forms of thought (see Chapter XXXV), then figures are forms of speech. The function of figures is to highlight, emphasize, strengthen one or another part of the statement; figures “serve as an expression of emotional movement in the speaker and a means of conveying the tone and degree of his mood to the listener” (A. Gornfeld). Figures are most activated in artistic speech, especially poetic, but many of their varieties are quite active in various genres of journalism.
Depending on the syntactic structure and the function performed, the entire variety of figures can be combined into several groups.
When editing text, along with individual sentences and phrases, groups of closely related independent sentences are of particular importance. Such a qualitatively new unit - a combination of several interconnected thematically (in meaning) and syntactically sentences, serving for a more complete development of thought compared to a separate sentence, is called complex syntactic whole(or prosaic stanza). This definition of prose stanza was given by G.Ya. Solganik in his book “Syntactic Stylistics”, based on the materials of which this chapter was written. The transition from the syntax of a single sentence to the syntax of a whole text is important for the vast field of stylistics, covering literary editing, the basics of journalism and writing, translation, text analysis, and poetics.
If you do not go beyond the scope of a single sentence, then the analysis of the text will be impoverished, and it will be difficult to grasp the stylistic originality of the work. It is the concept of a complex syntactic whole (prose stanza) that makes it possible to restore the missing links in the transition from the syntax of a sentence to the syntax of the whole text. On the one hand, prose stanzas reveal purely syntactic features (means of communication between sentences); on the other hand, prose stanzas are directly related to the composition, stylistic and artistic originality of the work.
The identification of a unit called a complex syntactic whole (supra-phrase unity) involves taking into account not only the volume, but also the structure and content of the text, therefore a complex syntactic whole can be considered a special structural and semantic component.
The main structural-semantic unit of text division does not have an unambiguous terminological definition in science (complex syntactic whole (CCW), superphrasal unity, interphrase unity, text component, communicative block, prose stanza, syntactic complex, microtext). The term complex syntactic whole is more often used.
SSC is a complex structural unity (semantic, thematic block), consisting of more than one sentence, possessing semantic integrity in the context of coherent speech. Each superphrasal unity contains a microtheme.
Unlike a paragraph, the SSC does not have a specific quantitative characteristic; its boundaries are not marked graphically, which causes difficulties in identifying this unit of division. The transition from one smallest theme (microtheme) to another reveals the boundary of interphrase communication.
One of the ways to check the volume of the STS follows from the position that parts of a superphrasal unity are easily combined into a complex sentence if other punctuation marks are placed in place of the dots (a paragraph does not lend itself to such an experiment, unless, of course, it coincides with the STS).
In the structure of the SSC, the first phrase plays a big role - the beginning. It is this that sets the thematic and structural perspective of unity. This phrase is self-sufficient in terms of content; it seems to absorb all the other statements of the SSC. It often contains keywords, including all the contents of the sequentially listed components of superphrasal unity.
Each opening phrase is a new micro-theme. If you sequentially combine all the initial phrases of the STS (that is, all the micro-themes) of one text, you will get a condensed story without details and explanations. This experiment demonstrates the role of the initial phrase in the process of text formation. The connection of sentences within a complex syntactic whole is carried out primarily through intonation.
The onset of SSC involves a greater increase in tone and some change in the timbre of the voice. The decrease in tone at the end of the sphere-phrasal unity is more significant, and the pause is longer than at the end of each sentence.
An important role in the formation of unity is played by grammatical means (primarily the nature of the conjunction or demon union communications, the presence of adverbial determinants related immediately to a whole series of sentences of one STS, parallelism in the structure of sentences, introductory words, type-temporal unity).
The boundaries of the SSC may coincide with the paragraph (in this case they speak of a thematic or classic paragraph). In this case, the division of the text is usually based on the logical-semantic principle.
Golovkina S.Kh., Smolnikov S.N.
Linguistic text analysis - Vologda, 2006.
Syntactic errors consist of incorrect construction of phrases, violation of the structure of simple, complicated and complex sentences.
Errors in the structure of phrases:
1. Violation of agreement with the main word in gender, number and case of the dependent word, expressed by an adjective, participle, ordinal number, pronoun: “This summer I was in the steppe Trans-Volga region.”
2. Impaired control. Errors in unprepositioned management (wrong choice of preposition): “If you touch a birch tree on a hot day, you will feel the cool trunk.”
3. Wrong choice of case with a correctly chosen preposition: “He looked like a deathly tired man.”
4. Omission of a preposition: “After a hasty lunch, I sat at the helm and drove (?) to the field.”
5. Using the unnecessary preposition “Thirst for fame.”
6. Omission of the dependent component of the phrase: “He gets into the hot cabin again, turns the steering wheel shiny from his palms again, (?) drives.”
Errors in the structure and meaning of the sentence:
1. Violation of the connection between the subject and the predicate: “But neither youth nor summer last forever,” “The sun had already set when we returned.”
2. Lack of semantic completeness of the sentence, violation of its boundaries: “Once upon a time during the war. A shell hit the poplar.”
3. Syntactic ambiguity: “Their (the girls’) dream came true, they (the fishermen) returned.”
4. Violation of the type-temporal correlation of verbs in the sentence: “Grinev sees Pugachev getting into the carriage.”
Errors in a simple two-part sentence:
Subject:
– Pronominal duplication of the subject: “Children sitting on an old boat with its keel overturned, they are waiting for their father.”
– Violation of agreement between the subject and the pronoun replacing the subject in another sentence: “Apparently, there is a storm at sea, so it is full of dangers.”
Predicate:
– Errors in the construction of the predicate: “Everyone was happy.”
– Violation of the agreement of the predicate in gender and number with the subject, expressed collective noun, quantitative-nominal phrase, interrogative and indefinite pronoun: “My mother and I stayed at home,” “A sheaf of rays of the sun entered the room.”
– Pronominal duplication of the addition: “Many books can be read several times.”
Definition:
– Incorrect use of an inconsistent definition: “On the right hang a lamp and my portrait from the kindergarten.”
- A conglomeration of agreed upon and inconsistent definitions relating to one member of the sentence: “The huge, wonderful world of life in our country and our peers opens up in millions of books.”
– Incorrect choice of morphological form of the adverbial form: “I study my lessons on the table” (at the table).
Errors in one-part sentences:
1. The use of two-part structures in place of one-part ones.
2. Using an adverbial phrase in an impersonal sentence: “When I saw the dog, I felt sorry for it.”
Sentences with homogeneous members:
1.Usage different parts speeches in role homogeneous members sentences: “I like the room because it is bright, large, and clean.”
2. Inclusion in a series of homogeneous terms of words denoting heterogeneous concepts: “When it’s spring and a clear day, the sun illuminates my whole room.”
3. Incorrect use coordinating conjunctions to connect homogeneous members: “The boy was big-faced, but serious.”
4. Incorrect attachment of logically heterogeneous secondary members to one main member: “There are books in the closet, newspapers and glassware on the shelves.”
5. Errors in coordinating homogeneous subjects with the predicate: “Anxiety and melancholy froze in her eyes.”
6. Violations in the area of homogeneous predicates:
a) use different types predicates as homogeneous: “The sea after the storm is calm, gentle and plays with the rays of the sun”;
b) violation of the uniform design of compound nominal predicates: the use of different case forms of the nominal part of homogeneous compound nominal predicates: “Their father was an experienced fisherman and a brave sailor”; joining homogeneous verbal predicate an addition that is controlled by only one of the predicates: “Everyone is really waiting and worried about the soldiers”; use of short and full forms adjectives and participles in the nominal part: “My room has recently been renovated: whitewashed and painted.”
7. Combining members and parts of different sentences as homogeneous ones: “Mushrooms and berries grow under the birch tree, snowdrops bloom in the spring.” “The children were waiting for their father and when his boat would appear.”
Sentences with introductory words and introductory constructions:
1. Wrong choice introductory word: “The girls peered intensely into the distance of the sea: a boat would probably appear on the horizon.”
2. Using an introductory word that leads to ambiguity: “According to the fishermen, there was a storm at night, but now it’s calm.”
3. Consumption introductory sentence as independent: “A book is a source of knowledge. As many say."
Offers with separate members:
1. Violation of word order in sentences with participial phrases.
– Separation of the participial phrase from the word being defined: “But again a misfortune happened to the tree: its low branches were cut off.”
– Inclusion of the defined word in the participial phrase: “Girls have their eyes fixed on the sea.”
2. Violation of the rules for constructing participial phrases.
– Construction of a participial phrase according to the model subordinate clause: “The painting shows a girl who has just gotten up.”
- Using a participial phrase instead of an adverbial phrase: “And every time we returned back, we sat down under a poplar tree and rested.”
3. Errors in sentences with isolated circumstances expressed participial phrase: Resting in a chair, the painting “March” hangs in front of me.
Methods of transmitting direct speech. Direct and indirect speech:
3. Mixing direct indirect speech: Grandfather said that in childhood they had the following law: on birthdays we gave only what we made with our own hands.”
4. Errors when introducing quotes: K. Paustovsky said that “A person who loves and knows how to read is a happy person.”
Complex sentences:
1. Violation of the logical-grammatical connection between the parts of a complex sentence: “My father did not forget this story for a long time, but he died.”
2. Use of a pronoun in the second part of a complex sentence, leading to ambiguity: “May hopes come true and they will return.”
3. Errors in using complex conjunctions:
a) connective - to connect parts of a complex sentence in the absence of adversative relations between them: “Yesterday there was a storm, and today everything was calm.”
b) adversatives - to connect parts of a complex sentence in the absence of adversative relations between them: “There is a birch tree growing in our yard, but buds are also swelling on it”;
c) double and repeated: “Either a bird has landed on the water, or the wreckage of a broken boat is floating on the sea”;
d) unjustified repetition of conjunctions: “And suddenly the girls saw a small black dot, and they had hope”;
e) unsuccessful choice of alliances: “Mitrasha was just over ten years old, but her sister was older.”
Complex sentences:
1. Inconsistency between the type of the subordinate clause and the meaning of the main one: “But they will still wait for their father, since the fishermen must be waited on the shore.”
2. Using composition and subordination to connect parts in a complex sentence: “If a person does not play sports, he ages quickly.”
3. Making structures heavier by “stringing” subordinate clauses: “The sail appeared in the sea as happy news that the fishermen were all right and that the girls would soon be able to hug their parents, who were delayed at sea because there was a strong storm.”
4. Omission of a necessary demonstrative word: “Mom always scolds me for throwing my things around.”
5. Unjustified use of a demonstrative word: “I have an assumption that the fishermen were delayed by the storm.”
6. Incorrect use of conjunctions and allied words when choosing them correctly:
a) the use of conjunctions and allied words in the middle of a subordinate clause: “There is a TV on the nightstand in the room, on which I watch entertainment programs after school”;
b) violation of the agreement of the conjunctive word in the subordinate clause with the replaced or attributive word in the main clause: “On two shelves - fiction, which I use when preparing for lessons.”
7. Use of the same type of subordinate clauses with sequential subordination: “Walking along the shore, I saw two girls sitting on an overturned boat, which was lying upside down on the shore.”
8. Using a subordinate clause as an independent clause: “The girls are worried about their relatives. That’s why they look so sadly into the distance.”
Non-union complex sentence:
1. Violation of the unity of construction of homogeneous parts in a non-union complex sentence: “The picture shows: early morning, the sun is just rising.”
2. Decomposition of parts of a non-conjunctive complex sentence into independent sentences: “The girls are dressed simply. They are wearing summer cotton dresses. The eldest has a scarf on her head.”
3. Simultaneous use of non-union and union connections: “The girls’ clothes are simple: the older ones with a scarf on their heads, in a blue skirt and gray blouse, the younger ones without a scarf, in a purple dress and a dark blue blouse.”
Complex sentence with various types connections:
1. Violation of the order of parts of the sentence: “The waves are still foaming, but they calm down near the shore; the closer to the horizon, the darker the sea; and therefore the girls have hope that their father will return.”
2. Using pronouns that create ambiguity: “We see that the girl's bed is not made, and she confirms that the girl just got up.”
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