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| NOUN ‐ the writer or speaker's attempt to convince an audience using fact, scientific research, statistics, or experts, attempting to persuade through appealing to the reader's sense of reason | ||
| expressing a poet's inner feelings; emotional; full of images; song-like | ||
| verb inflections that express how the action or state is conceived by the speaker | ||
| verb inflections that express how the action or state is conceived by the speaker | ||
| (rhetoric) the second section of an oration in which the facts are set forth | ||
| an impersonal presentation of events and characters. It is a writer's attempt to remove himself or herself from any subjective, personal involvement in a story. Hard news journalism is frequently prized for its objectivity, although even fictional stories can be told without a writer rendering personal judgment. | ||
| When a writer obscures or denies the complexity of the issues in an argument | ||
| a figure of speech consisting of two apparently contradictory terms | ||
| the movement of a literary piece from one point or one section to another | ||
| a short narrative designed to teach a moral lesson | ||
| a statement or proposition that seems self-contradictory or absurd but in reality expresses a possible truth. | ||
| the use of a series of words, phrases, or sentences that have similar grammatical form | ||
| humorous or satirical mimicry | ||
| quality in drama, speech, music, literature, or events that arouses a feeling of pity/sorrow | ||
| overly concerned with the trivial details of learning or education; show-offish about one's knowledge | ||
| a form of argumentation, one of the four modes of discourse; language intended to convince through appeals to reason or emotion. | ||
| an element in literature that conveys a realistic portrayal of a specific geographical locale, using the locale and its influences as a major part of the plot | ||
| a question asked for an effect, not actually requiring an answer | ||
| witty language used to convey insults or scorn | ||
| form of literature in which irony, sarcasm, and ridicule are employed to attack human vice and folly | ||
| the voice that communicates with the reader of the poem or play; the voice that talks to the audience | ||
| one regarded as embodying a set image or type; fixed and unvarying representation; standardized mental picture often reflecting prejudice; Ex. stereotype of the happy slave; V: make a stereotype of; represent by a stereotype; Ex. It is wrong to stereotype people; Ex. stereotyped answer | ||
| the choices a writer makes; the combination of distinctive features of a literary work | ||
| a personal presentation of events and characters, influenced by the author's feelings and opinions | ||
| a three-part deductive argument in which a conclusion is based on a major premise and a minor premise ("All men are mortal; Socrates is a man; therefore, Socrates is mortal.") | ||
| symbolism; the part signifies the whole, or the whole the part (all hands on board) | ||
| Ability to create a variety of sentence structures, appropriately complex and/or simple and varied in length. | ||
| Sentence structures that are extraordinarily complex and involved. They are often difficult for a reader to follow. | ||
| the grammatical arrangement of words in sentences | ||
| a unifying idea that is a recurrent element in a literary or artistic work | ||
| The basic argument advanced by a speaker or writer who then attempts to prove it; the subject or major argument of a speech or composition. | ||
| the writer's or speaker's attitude toward the subject of a story, toward a character, or toward the audience (the readers). | ||
| a word or phrase that links one idea to the next and carries the reader from sentence to sentence, paragraph to paragraph. | ||
| the deliberate representation of something as lesser in magnitude than it actually is; a deliberate under-emphasis | ||
| the combination of all elements working together to achieve a sense of harmony in your design; grouping related items close together | ||
| can refer to two different areas of writing. One refers to the relationship between a sentence's subject and verb (active and passive). The second refers to the total "sound" of the writer's style. |
