Terms : Hide Images
| 4914841247 | Rhetoric | The study of effectiveness and persuasiveness of language | 0 | |
| 4914841248 | Argument | Make an original and controversial claim, justify it, recognize the development of it as an ongoing process, and combining truth seeking persuasion in a final outcome of product like an essay or speech | 1 | |
| 4914841249 | Dialect Thinking | The process of listening to and considering multiple perspectives (a natural and important part of making an argument) | 2 | |
| 4914841250 | Five Canons of Rhetoric | Invention, Arrangement, Style, Memory, Delivery | 3 | |
| 4914841251 | Invention | The process of coming up with ideas for making an argument | 4 | |
| 4914841252 | Arrangement | The way in which a text is organized | 5 | |
| 4914841253 | Style | Appropriate and effective use of language (inclusive of starred definitions below) | 6 | |
| 4914841254 | Memory | Used by classical rhetoricians and speakers to create unique techniques to memorize their speeches | 7 | |
| 4914841255 | Delivery | The act of delivering speeches orally before a live audience | 8 | |
| 4914841256 | Two Main Types of Arguments | Non-Artistic, Artistic | 9 | |
| 4914841257 | Non-Artistic | Arguments that do not require invention, such as laws, witnesses, contracts, or oaths | 10 | |
| 4914841258 | Artistic | Arguments that the speaker must invent | 11 | |
| 4914841259 | Three Types of Persuasive Appeals/Three Points on the Rhetorical Triangle | Logos, Ethos, Pathos | 12 | |
| 4914841260 | Logos | Greek for "word"; Focuses attention on the quality of the message (RT: Logic - Message/Topic) | 13 | |
| 4914841261 | Ethos | Greek for "Character"; Focuses attention on the author's character as it is projected in the message (RT: Credibility - Speaker/Writer) | 14 | |
| 4914841262 | Pathos | Greek for "suffering" or "experience"; Focuses attention on the values and beliefs of the intended audience (RT: Emotions - Audience) | 15 | |
| 4914841263 | Parts of Classical Structure | Exordium, Narratio, Proposito, Partitio, Confirmatio, Refutatio/Confutatio, Peroratio | 16 | |
| 4914841264 | Exordium | An attention grabber that should capture the audiences attention and create exigence for the topic of the text's argument: Inquisitive, Paradoxical, Corrective, Preparatory, Narrative | 17 | |
| 4914841265 | Narratio | An explanation of the issue and any needed background information | 18 | |
| 4914841266 | Proposito | The thesis, claim, or argument | 19 | |
| 4914841267 | Partitio | The outline statement that previews the structure of the major points | 20 | |
| 4914841268 | Confirmatio | The main body of the text that presents and supports each reason to support the thesis, claim, or argument | 21 | |
| 4914841269 | Refutatio/Confutatio | Summary and/or response to opposing views; Refutes or concedes to opposing views | 22 | |
| 4914841270 | Peroratio | A conclusion that brings closure, sums up an argument and main points, and leaves a strong impression as a final appeal to the audience | 23 | |
| 4914841271 | Inquisitive | "Does history repeat it self?" | 24 | |
| 4914841272 | Paradoxical | "As I type this, highly civilized men are flying above, trying to kill me" | 25 | |
| 4914841273 | Corrective | The peanut is in fact a fruit | 26 | |
| 4914841274 | Preparatory | "Beginnings are apt to be shadowy, and so it is with the beginnings of that great mother of life, the sea" | 27 | |
| 4914841275 | Narrative | An anecdote | 28 | |
| 4914841276 | Parallelism* | Similarity of structure in a pair or series of related words | 29 | |
| 4914841277 | Antithesis* | The juxtaposition of contrasting ideas often and parallel structure | 30 | |
| 4914841278 | Alliteration* | The occurrence of the same letter or sound at the beginning of adjacent or closely connected words EX. Please Paint Patrice Purple | 31 | |
| 4914841279 | Assonance* | The repetition of a vowel sounds in non-rhyming words that are close together EX. Try to Light the Fire | 32 | |
| 4914841280 | Anaphora* | A repetition of words at the beginning of successive clauses | 33 | |
| 4914841281 | Metaphor and Extended Metaphor* | A figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable; Implied or hidden comparison between two things that are unrelated but share some common characteristics EX. The Curtain of Night | 34 | |
| 4914841282 | Simile* | A figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid EX. Brave as a Lion | 35 | |
| 4914841283 | Imagery* | Tactile - relating to the sense of touch Visual - relating to the sense of sight Gustatory - relating to the sense of taste Auditory - relating to the sense of hearing Olfactory - relating to the sense of smell | 36 | |
| 4914841284 | Synecdoche* | A part stands for the whole. EX. "All hands on deck!" | 37 | |
| 4914841285 | Personification* | Giving human attributes/characteristics to something that is not human EX. "My alarm clock is screaming!" | 38 | |
| 4914841286 | Hyperbole* | Exaggerated statements or claims not meant to be taken literally EX."He is fifty feet tall!" | 39 | |
| 4914841287 | Rhetorical Question* | Asking a question not for an answer but for the purpose of asserting or denying something indirectly EX. "What is the difference between a joke and a rhetorical question?" | 40 | |
| 4914841288 | Hypophora* | Asking a question and answering it | 41 | |
| 4914841289 | Irony* | Words that convey a meaning opposite to the literal meaning of the word | 42 | |
| 4914841290 | Connotation* | An idea or feeling that a word invokes in addition to its literal or primary meaning | 43 | |
| 4914841291 | Denotation* | The literal or primary meaning of a word, in contrast to the feelings or ideas that the word suggests | 44 | |
| 4914841292 | Oxymoron* | Juxtaposing two ordinarily contradictory terms | 45 | |
| 4914841293 | Repetition* | The action of repeating something that has already been said or written | 46 | |
| 4914841294 | Syntax* | The arrangement of words and phrases to create well-formed sentences in a language | 47 | |
| 4914841295 | Diction* | The choice and use of words and phrases in speech or writing | 48 | |
| 4914841296 | Rhetorical Situation | The environment or situation which gave birth to the text and formulated it in such a way that it is effective for a particular audience, fulfills its purpose, and communicates a relevant and convincing message | 49 | |
| 4914841297 | Kairos | Greek word for "right time," "season," or "opportunity"; For an argument to be persuasive, its timing must be effectively chosen and its tone and structure in right proportion or measure (connected to RT) | 50 | |
| 4914841298 | Genre | A reoccurring type or pattern of argument | 51 | |
| 4914841299 | Cultural Context | The culture of the audience and the culture of the writer, speaker, or creator | 52 | |
| 4914841300 | Text Types | Non-Fiction (Non-Literary), Fiction (Literary) | 53 |
