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| 14592785474 | Rhetoric | Aristotle defined rhetoric as "the faculty of discovering in any particular case all of the available means of persuasion." | 0 | |
| 14592788939 | Syntax | refers not only to the structure of sentences, their types, their uses, their connection, and the variations authors choose, but also to smaller structures within sentences. Phrases (any group of words) and clauses (groups of words that contain a subject and a verb) are also syntactic elements that require a reader's attention. | 1 | |
| 14592792268 | syntax effect of short sentences | tend to create a feeling of quickness, decisiveness, and speed to a piece. It is important to be aware of the content of a piece and look for connections to syntax. Pay attention to how pacing relates to the action and purpose of a particular piece. | 2 | |
| 14592794784 | syntax effect of long sentences | Long, convoluted sentences, especially with subordinate clauses at the beginning tend to slow the pace of a piece. Often they are connected to a contemplative section, a heavy or serious subject and the writer wants to emphasize it. Sometimes, however, they are placed in a piece for the purpose of demonstrating the ramblings of a character, the ludicrousness of an idea, or the ridiculousness of a situation. Watch for occasional satire or irony in these long sentences. | 3 | |
| 14592797693 | How do authors use syntax? | a. specific patterns of phrases and sentences b. divisions within a piece with different syntax for each c. parallel structure d. different sentence types e. specific kinds of punctuation f. other syntactical techniques | 4 | |
| 14592809124 | sentence structure | Examine sentence beginnings. Is there a good variety or does a pattern emerge? Examine the arrangement of ideas in a sentence. Are they set out in a special way for a purpose? Examine sentence patterns. | 5 | |
| 14592812626 | telegraphic | shorter than 5 words in length | 6 | |
| 14592818109 | short | approximately 5 words in length | 7 | |
| 14592819989 | medium | approximately 18 words in length | 8 | |
| 14592821286 | long and involved | 30 or more words in length | 9 | |
| 14592827226 | declarative | The king is sick. makes a statement assertive | 10 | |
| 14592831392 | imperative | Cure the king! gives a command authoritative | 11 | |
| 14592834593 | interrogate | Is the king sick? asks a question questioning | 12 | |
| 14592837986 | Exclamatory | The king is dead; long live the king! makes an exclamation emotional | 13 | |
| 14592839261 | simple sentence | contains one independent (main) clause *The singer bowed to her adoring audience. | 14 | |
| 14592840175 | compound sentence | contains two (or more) independent clauses joined by coordinate conjunction(s)--and, but, or, etc.--and/or semicolon(s) *The singer bowed to the audience, but she sang no encores. | 15 | |
| 14592841810 | complex sentence | contains an independent clause and one or more subordinate clauses connected to the independent clause with words such as because, while, when, if, as, although, since, unless, after, so, which, who, or that *After she bowed to the audience, the singer sang an encore. | 16 | |
| 14592842442 | compound-complex sentence | contains an independent clause and one or more subordinate clauses connected to the independent clause with words such as because, while, when, if, as, although, since, unless, after, so, which, who, or that *After she bowed to the audience, the singer sang an encore. | 17 | |
| 14592843606 | Loose/cumulative sentence | makes complete sense if brought to a close before the actual ending A cumulative or loose sentence is a type of parallel sentence which builds through parallel constructions (dependent phrases or clauses) after a main clause. Remember: in the cumulative sentence, the main clause (with the subject and verb) comes first. -Formula: Main clause + parallel dependent phrases or clauses *We reached Edmonton that morning after a turbulent flight and some exciting experiences. | 18 | |
| 14592847189 | Periodic sentence | makes sense only when the end of the sentence is reached a type of parallel sentence which builds through three or more parallel constructions (dependent phrases or clauses) to a main clause. Remember: in the periodic sentence, the main clause (with the subject and verb) comes last. -Formula: Parallel dependent clauses and phrases + main clause *That morning, after a turbulent flight and some exciting experiences, we reached Edmonton. | 19 | |
| 14592848077 | Balanced sentence | the phrases and clauses balance each other by virtue of their likeness of structure, meaning, or length a type of parallel sentence in which two parallel elements are set off against each other like equal weights on a scale. In reading the sentence aloud, the reader tends to pause between the balanced parts, each seeming equal. When writing a balanced sentence, be certain that both parts of the sentence have the clear parallels of form, that they appear parallel grammatically. In a balanced sentence, the phrases or clauses balance each other by virtue of their likeness of structure, meaning, or length: *He maketh me to lie down in green pastures; he leadeth me beside the still waters | 20 | |
| 14592857284 | Cumulative sentences | add parallel elements at the end. These sentences are especially effective for description, even if they use only a single detail at the end. *The student sat quietly, trembling at the thought of writing an essay. [using a single detail] *The hounds continued to bray—uncontrollably, maddeningly, horribly. [using multiple details] | 21 | |
| 14592859256 | Famous Cumulative Sentence | George was coming down in the telemark position, kneeling, one leg forward and bent, the other trailing, his sticks hanging like some insect's thin legs, kicking up puffs of snow, and finally the whole kneeling, trailing figure coming around in a beautiful right curve, crouching, the legs shot forward and back, the body leaning out against the swing, the sticks accenting the curve like points of light all in a cloud of snow. | 22 | |
| 14592867725 | The Balanced Paragraph | An entire paragraph can also be developed using balance. This is particularly useful when developing a series of contrasts. *I felt myself in rebellion against the Greek concept of justice. That concept excused Laius of attacking Oedipus, but condemned Oedipus for defending himself. It tolerated a king's deliberate attempt to kill his baby son by piercing the infant's feet and abandoning it on a mountain, but later branded the son's unintentional killing of his father as murder. It held Oedipus responsible for his ignorance, but excused those who contributed to that ignorance. (Krutch) | 23 | |
| 14592869702 | Natural order of a sentence | involves constructing a sentence so the subject comes before the predicate *Oranges grow in California. | 24 | |
| 14592870280 | Inverted order of a sentence (sentence inversion) | involves constructing a sentence so the predicate comes before the subject (this is a device in which normal sentence patterns are reversed to create an emphatic or rhythmic effect) *In California grow oranges. | 25 | |
| 14592872445 | Split order of a sentence | divides the predicate into two parts with the subject coming in the middle *In California oranges grow. | 26 | |
| 14592873665 | Juxtaposition | a poetic and rhetorical device in which normally unassociated ideas, words, or phrases are placed next to one another, creating an effect of surprise and wit *The apparition of these faces in the crowd; /Petals on a wet, black bough. | 27 | |
| 14592875982 | Parallel structure (parallelism) | refers to a grammatical or structural similarity between sentences or parts of a sentence; it involves an arrangement of words, phrases, sentences, and paragraphs so that elements of equal importance are equally developed and similarly phrased *He was walking, running and jumping for joy. | 28 | |
| 14592877652 | Repetition | a device in which words, sounds, and ideas are used more than once to enhance rhythm and create emphasis * "...government of the people, by the people, for the people, shall not perish from the earth" | 29 | |
| 14592879857 | Rhetorical question | a question that expects no answer; it is used to draw attention to a point and is generally stronger than a direct statement *If Mr. Ferchoff is always fair, as you have said, why did he refuse to listen to Mrs. Baldwin's arguments? | 30 | |
| 14592882898 | Rhetorical fragment | a sentence fragment used deliberately for a persuasive purpose or to create a desired effect *Something to consider. | 31 | |
| 14592884165 | Anaphora | the repetition of the same word or group of words at the beginning of successive clauses * "We shall fight on the beaches, we shall fight on the landing-grounds, we shall fight in the fields and in the streets, we shall fight in the hills." | 32 | |
| 14592885438 | Asyndeton | a deliberate omission of conjunctions in a series of related clauses * "I came, I saw, I conquered." | 33 | |
| 14592887089 | Chiasmus/ Antimetabole | a sentence strategy in which the arrangement of ideas in the second clause is a reversal of ideas in the first clause * "Ask not what your country can do for you; ask what you can do for your country." | 34 | |
| 14592888051 | Polysyndeton | the deliberate use of many conjunctions for special emphasis to highlight quantity or mass of detail or to create a flowing, continuous sentence pattern *The meal was huge - my mother fixed okra and green beans and ham and apple pie and green pickled tomatoes and ambrosia salad and all manner of fine country food - but no matter how I tried, I could not consume it to her satisfaction. | 35 | |
| 14592889992 | Stichomythia | dialogue in which the endings and beginnings of each line echo each other, taking on a new meaning with each new line * "Hamlet, thou hast thy father much offended. Mother, you have my father much offended." | 36 | |
| 14592890932 | Zeugma | the use of the verb that has two different meanings with objects that complement both meanings * He stole both her car and her heart that fateful night. | 37 | |
| 14592892911 | Ellipses | a pause; a trailing off | 38 | |
| 14592894956 | Dash | interruption of a thought; an interjection of a thought into another. | 39 | |
| 14592896606 | Semicolon | parallel ideas; equal ideas; a piling up of detail | 40 | |
| 14592897400 | Colon | a list; a definition or explanation; a result | 41 | |
| 14592898510 | Italics | for emphasis | 42 | |
| 14592899455 | Capitalization | for emphasis | 43 | |
| 14592900262 | Exclamation Point | for emphasis; for emotion | 44 | |
| 14592903618 | Diction | or word choice, considers vocabulary, imagery, figures of speech (metaphor, simile, personification, hyperbole etc.), sound devices (alliteration, cacophony, euphony etc.) and both the denotative and connotative aspects of words. Diction and syntax work together to create mood and tone; these aspects of style contribute to the author's purpose. | 45 | |
| 14592904461 | Exigence | Exigence is Latin for demand; a response to a situation. occasion that causes or prompts someone to write or speak: "Exigence has to do with what prompts the author In rhetoric, exigence refers to an issue, problem, or to write in the first place, a sense of urgency, a problem that requires attention right now, a need that must be met, a concept that must be understood before the audience can move to a next step." | 46 | |
| 14592907565 | Kairos | In classical rhetoric, kairos is the opportune time and/or place, the right or appropriate time to say or do the right or appropriate thing (adjective: kairotic). Aristotle refers to the importance of situation in creating effective rhetoric. Unlike exigence, the rhetorical situation that calls for the text, kairos is more abstract and is not only dependent upon the appropriateness of timing and purpose, but also the appropriate nature of the situation, the approach, and the implications of the discourse. In Greek mythology, Kairos, the youngest child of Zeus, was the god of opportunity. The word has roots in both weaving (suggesting the creation of an opening) and archery (denoting the seizing of, and striking forcefully through, an opening). | 47 | |
| 14592908882 | Exigence and Kairos | In Greek, both kairos and chronos literally mean "time," but kairos does not mean "time" in the same sense as used in contemporary English. In Greek, kairos represents a kind of "qualitative" time, as in "the right time"; chronos represents a different kind of "quantitative" time, as in, "What time is it?" and "Will we have enough time?" (Kinneavy; Stephenson). Kairos means taking advantage of or even creating a perfect moment to deliver a particular message. | 48 | |
| 14592913706 | Ethos | Ethos, in rhetoric, is one of three modes of persuasion explained by Aristotle as a component of an argument, along with logos and pathos. Ethos is a Greek word meaning "character" and serves the purpose of determining the credibility of the rhetor (speaker or writer) to persuade the listener or reader on a specific topic being argued. According to Aristotle, there are three types of ethos; phronesis, arête, and eunoia (Halloran). | 49 | |
| 14592915839 | Phronesis | Phronesis is a Greek word for wisdom, prudence or intelligence; Aristotle thought of it more as practical wisdom. Phronesis involves the practical use of knowledge and skills to benefit others, which is gained through experience. | 50 | |
| 14592917426 | Arête | is the Greek word for virtue or goodness, basically meaning excellence of any kind and living up to one's full potential. Aristotle believed that the ultimate goal in life for a human is happiness. In order to be fully happy in life, one would have many virtues, and those virtues that have been practiced at their full potential would bring complete happiness in that sector of a person's life. He describes the necessary steps to achieve this happiness: "righteous actions, often done under the influence of teachers, allow the development of the right habits, which in turn can allow the development of a good stable character, in which the habits are voluntary" (Aristotle). Ultimately, happy people are those who always voluntarily know what's right and act on that knowledge, gaining wisdom with years and using it in a way that will help others. | 51 | |
| 14592918346 | Eunoia | is Greek for "goodwill towards the audience". In rhetoric it is the relationship the speaker cultivates with the audience to gain their trust. This trust between speaker and audience is what gives the speaker credibility and the power to persuade the audience; therefore, eunoia is the goodwill which helps build a foundation and allow the relationship to grow and prosper. | 52 | |
| 14592918895 | Stasis Theory | Stasis theory is a four-question, pre-writing (invention) process developed in ancient Greece by Aristotle and Hermagoras, and later refined by Roman rhetoricians. Stasis theory helps writers conduct critical analyses of the issues they are investigating by determining the essential question at issue or the fixed point on which an argument hinges. For readers, understanding which essential question the text is addressing helps determine the argument and purpose. | 53 | |
| 14592921702 | Stasis Theory Questions | •Question of fact (Did something happen? Is it real? What is its origin or cause? --questions about the past) •Question of definition (What is its nature? What are its parts? How is it classified? --questions about the present) •Question of quality (What is its value? Is it good or bad? Harmful or helpful? --questions about the present) •Question of policy (What actions should be taken? How can we make things better? --questions about the future) | 54 |
