The following words are the most commonly used prepositions:
about
|
below
|
excepting
|
off
|
toward
|
above
|
beneath
|
for
|
on
|
under
|
across
|
beside(s)
|
from
|
onto
|
underneath
|
after
|
between
|
in
|
out
|
until
|
against
|
beyond
|
in front of
|
outside
|
up
|
along
|
but
|
inside
|
over
|
upon
|
among
|
by
|
in spite of
|
past
|
up to
|
around
|
concerning
|
instead of
|
regarding
|
with
|
at
|
despite
|
into
|
since
|
within
|
because of
|
down
|
like
|
through
|
without
|
before
|
during
|
near
|
throughout
|
with regard to
|
behind
|
except
|
of
|
to
|
with respect to
|
To the store is a prepositional phrase.
Store is the object of the preposition to, not the direct object of the verb drove.
Car is the direct object of the verb drove.
To the grocery store is a prepositional phrase.
NOTE:
A word that looks like a preposition but is actually part of a verb is called a particle.
Held up is a verb meaning “to rob.”
Therefore, up is not a preposition, and bank is not the object of a preposition.
Instead, bank is the direct object of the verb held up.
To avoid confusing prepositions with particles, test by moving the word (up) and words following it to the front of the sentence:
Up the bank four armed men held.
If the resulting sentence does not make sense, then the word belongs with the verb and is a particle, not a preposition.
Note the difference:
Note the difference:
The resulting sentence makes sense. Therefore, up is a preposition.
The resulting sentence does not make sense. Therefore, up is a particle in this sentence.
The following examples illustrate the difference between prepositions and particles:
source: http://www.towson.edu/ows/prepositions.html
EXERCISE :
source: http://www.towson.edu/ows/prepositions.html
EXERCISE :
Analyze this article below about the structure preposition!
On Disney, Daughters, and Dads
by Michael J. Corso, Ph.D.
Once upon a time, in the land of Disney movies, if there was a daughter, there was no Dad. Sleeping Beauty, Cinderella, and Snow White's fathers are all more or less absent. In these popular tales, we meet young, fatherless women who are poisoned in spirit and body by some older, jealous witch-like woman. I have been wondering what message these movies communicate to my two daughters and their friends. Watching Disney's recent feature length animated movies also made me curious as to whether there has been an evolution in the stories Disney is telling. These movies speak to us gathered around glowing screens the way myths spoke to our ancestors sitting around the embers of a fire. They represent archetypes of men and women, sons and daughters, fathers and mothers.
In that light, the tales above tell of the struggle between mother and maturing daughter in the absence of the father. Though the older female is usually a step, protecting us as in a dream from direct association with the biological mother, these stories animate an accurate, albeit fairy-tale version of the "traditional" family. A father away from his castle, a mother in charge at home, a daughter struggling toward independence while keeping house as little girls should. What is most distressing about these young women and the view objectionable today, is that each seems powerless to improve her situation.
Sleeping Beauty is, well... asleep. Utterly passive, her only hope is for the prince to arrive, slay the witch, and kiss Rose into arousal. The man has female fairies helping out, but he is clearly the hero. Cinderella, at least, is awake. She even has a helpful fairy godmother (the good side of the mother?). When she is imprisoned, however, Jacque and Gus-Gus, both mice and both male, heroically get the key and free her. The prince then completely liberates her by marrying her. Snow White, winner of several Oscars, will perhaps not win any awards in the "Best Female Role Model" category. Here is a woman mindlessly keeping house for not one, but seven men. The dwarves go whistling off to work every day and combined they make one dutiful, though moody, husband. Snow White's hoped for her Prince comes and, though she is unconscious, he wakes her with a kiss so they can live happily ever after.
Notice the girl is always unconscious or locked away--helpless, powerless, passive. The man (or mice) of action must rescue her. This, no doubt, was the typical view of women and men and their respective roles.
Fast forward to the new Disney movies. Just as the improved animation reflects new technology, the female characters featured in these movies has improved reflecting society's changing attitude toward women. In The Little Mermaid, an independent Ariel rescues the drowning Prince Eric. She strikes a bargain with the sea-witch, enabling her to pursue and woo Eric. This time Eric is put into a sleep like trance and though he kills Ursula, it is not without Ariel's help and the help of her friends, Sebastian, Flounder, and Scuttle.
While Ariel has the help of her male friends, Belle, in Beauty and the Beast acts more on her own. She successfully fends off the villainous Gaston throughout the movie and saves both her father and the Beast, each of them twice. In the climactic battle, we once again see the support of secondary male characters--Lumiere and Cogsworth--but fighting beside them are the female Wardrobe and Mrs. Potts. In the end, Belle's actions undo the decades long spell.
The strong-willed Princess Jasmine, in Aladdin, is not at the whimsy of her father, Aladdin, or Jafar. She is beyond even the Genie's control. Self assured, she will marry only when she is ready. The transformation in the attitude toward women is typified when Aladdin pole vaults from one roof to another as he and the runaway princess escape Jafar's henchmen. He chauvinistically places a plank across the roof tops so Jasmine can follow only to be surprised by her vaulting across with equal agility. Imagine Snow White doing that.
What is most sophisticated and wonderful about each of these women is that none of them are effective at the expense of her femininity. Disney's women have come of age. They are strong, smart, even sexy. The change is unmistakable. These women of action, unlike their predecessors, are out of the house, (or the sea), confident and courageous.
Then there are the fathers. In most of the old movies, there is a single female parent. In all three new movies, there is a single male parent. Interesting switch. Has the depiction of fathers as primary caretakers improved to the same degree as the view of young women? One could argue that at least they exist! However, in each of the movies mentioned, the father is a tyrant, a buffoon, or both.
Ariel's father, is overbearing in appearance and attitude. King Trident mercilessly and arbitrarily smashes Ariel's prized possessions. Though he is apologetic, and in the end lets go of his daughter, we are still left with a rather oppressive figure. Belle's father, though a clever inventor, is in every other way helpless. He gets lost, imprisoned, and puts up little struggle when Belle exchanges places with him as the Beast's prisoner. Upon returning to the town, Maurice's absent-minded manner gets him bullied by Gaston. Belle must leave the Beast she now loves to rescue her father a second time. Jasmine's father has power and authority, but he is a fool. He is repeatedly duped by Jafar and spends most of his time stacking menagerie animals. Each of these full-time dads is as incompetent as his daughter is competent.
There are, of course, capable fathers among Disney's characters. Geppetto, Pinnochio's father, is caring and courageous. In The Jungle Book, Bagheera and Baloo team up to take care of Mowgli and see him safely back to the man's village; while one lacks a sense of humor and the other lacks a sense of responsibility, combined they make a pretty good paternal pair. My favorite father is Pongo of One Hundred and One Dalmatians. The newest Disney dad, The Lion King's Mufasa, is a fine feline father, at once powerful and playful, stern and sensitive. These latter two movies are among the few Disney families with both a mother and father.
There is an important difference between these positively portrayed papas and the faltering fathers of Ariel, Belle, and Jasmine. These dads care for sons. Pinnochio, Mowgli, the Dalmatian pups, and Simba are all boys. The message seems to be that when caring for boys, a father is competent and even heroic, but when caring for girls, a father is bungling and brainless.
It is quite startling to realize that this is the (hopefully unintended) story behind the stories. These are only movies, and overall, very good movies; I hope I have not over-stated things. There is just this evidence of two interesting trends--one having to do with young women, the other having to do with us full-time dad types. It is at least something to notice. Something to bring up with our daughters and our sons. Our society has other stories to tell about fathers and daughters. Our personal stories speak the loudest.
Mickey Corso has a Ph.D. in Religious Education from Boston College and is the full-time dad of Rebecca (5 years) and Elise (20 months). His wife, Catherine, is a Senior Financial Analyst at BBN in Cambridge, MA. He realizes this article reveals that he and his daughters watch entirely too much TV.
source: http://www.fathermag.com/9607/Disney/
1. Utterly passive, her only hope is for the prince to arrive
For the prince is a prepositional phrase. Prince is the object of the preposition for.
2. These women of action, unlike their predecessors, are out of the house...
Prepositions (out of) with adjectives are sometimes so firmly wedded to other words that they have practically become one word.
3. Once upon a time, in the land of Disney movies,...
We can find 2 preposition in this sentence (upon & in).
- From the sentence above, there have structure of preposition. upon is telling us preposition that measured about last time (obj of prep).
- The structure is in form of a noun. In include as preposition, after in is followed by noun (land). it denotes as a place.
4. These dads care for sons.
A combination of verb and preposition (care for) is called a phrasal verb. The word that is joined to the verb is then called a particle. and sons become an obj of preposition. and these dads become an direct object.
5. The man has female fairies helping out. // The prince then completely liberates her by marrying her.
Both of these sentences tell us that structure of gerundial phrase, preposition is usually followed by verb ing (helping or marrying) or as gerund like the sentence above. these verb-ing can be the first at the sentence or it can be placed at the last. and the prepositions are (out & by).
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