Terms : Hide Images
| 6712583640 | Imagery | Word of group of words that appeals to one or more of the senses | 0 | |
| 6712585596 | Simile | a comparison between two different things that resemble each other--comparison using like or as | 1 | |
| 6712588031 | personification | prescribing an inanimate object with human attributes--attributes of form, character, feelings, behavior, and so on | 2 | |
| 6712593528 | Inductive Reasoning | argument that begins by citing a lot of specific instances or examples and then shows how they collectively constitute a general principle or idea | 3 | |
| 6712595252 | Deductive Reasoning | argument that begins with a general principle and concludes with a specific instance that demonstrates the general principle | 4 | |
| 6712602791 | irony | the contrast between what is stated explicitly and what is really meant, or the difference between what appears to be and what is actually true | 5 | |
| 6712605953 | Verbal irony | when the words literally state the opposite of the writer's meaning | 6 | |
| 6712606072 | Situational irony | when events turn out the opposite of what was expected; when what the characters and readers think ought to happen is not what does happen | 7 | |
| 6712608981 | Dramatic irony | when facts or events are unknown to a character in a play known to the reader, audience, or other characters of work | 8 | |
| 6712611937 | Understatement | the ironic minimalizing of fact (opposite of hyperbole) | 9 | |
| 6712612615 | Satire | a work that targets human vices and follies or social institutions and inventions for reform or ridicule | 10 | |
| 6712616277 | Sarcasm | involves bitter, caustic language that is meant to hurt or ridicule someone or something. It may use irony as a device, BUT not all ironic statements are ironic | 11 | |
| 6712622021 | Hyperbole | using deliberate exaggeration or overstatement. To be over-the-top | 12 | |
| 6712626580 | Syntax: Periodic Sentences | a sentence in which the writer builds suspense by beginning with subordinate elements, and postposing the main clause or point until the very end (provides suspense at the end of the sentence) | 13 | |
| 6712636239 | Syntax: Parallelism | recurring syntax or syntactial similarities (repeating phrase, sentence, or paragraph structures) | 14 | |
| 6712644534 | Syntax: Anaphora | the repetition of the same word or words at the beginning of successive phrases, clauses or sentences, commonly in conjunction with climax and with parallelism (think of this as the drum beat of an argument that drives a claim home through repetition) | 15 | |
| 6712659819 | Syntax: Loose Sentences | A type of sentence in which the main idea (independent clause) comes first, followed by dependent phrases and clauses | 16 | |
| 6712669240 | Rhetorical Questions: Hypophora | raising one or more questions and then proceeding to answer them, usually at some length | 17 | |
| 6712673946 | Reasoning | Explains why the data proves the claim | 18 | |
| 6712678740 | Apostrophe | A direct address to an absent or dead person or personified object or idea. O Captain, my Captain (Abraham Lincoln) | 19 | |
| 6712682292 | Chiasmus | A figure of speech by which the order of terms in the first two parallel clauses is reversed in the second | 20 | |
| 6712693197 | Syntax: Asyndeton | -Omitting conjunctions between words, phrases, or clauses. -In a list of items, asyndeton gives the effect of an unpremeditated multiplicity -A spontaneous, rather than labored and intentional speeding up the rhythm | 21 | |
| 6712707108 | Alliteration | Repetition of initial consonant sounds | 22 | |
| 6712714774 | Exigence | what has compelled this author to write | 23 | |
| 6712716022 | Audience | to whom is this author writing or speaking | 24 | |
| 6712717236 | Purpose | what effect does the author hope to have on his audience? | 25 | |
| 6712720879 | Keys to Rhetoric | Exigence, Audience, and Purpose. | 26 | |
| 6712722125 | Rhetorical Questions | -A question that's answer is obvious or obviously desired -Usually yes or no -Used for effect and for drawing a conclusionary statememt | 27 | |
| 6712730463 | Syntax | -The ways in which words are arranged in a sentence -The author may choose to join words into phrases, clauses, and sentences -Similar to diction, but syntax is group of words and diction refers to the individual words | 28 | |
| 6712747694 | Syntax: Parallel Structure Purpose | shows equal ideas; for emphasis; for rhythym | 29 | |
| 6712984870 | Independent Clause | A clause that can stand alone (has a subject and a verb). | 30 | |
| 6712987768 | Dependent Clause | A clause that CANNOT stand alone (has either a subject or a verb--is missing one or the other). | 31 | |
| 6712992718 | Conjunction | Linking or Joining Word | 32 | |
| 6712995311 | What are the seven main conjunctions? | FANBOYS: For, And, Nor, But, Or, Yet, So. | 33 | |
| 6713004442 | Syntax: Polysyndeton | 1. The use of a conjunction between each word, phrase, clause, or at the start of a sentence. 2. Structurally the opposite of asyndeton. | 34 | |
| 6713013823 | What is the function or rhetorical effect of Polysyndeton? | 1. Rhetorical effect creates one of build-up, multiplicity, or energetic enumeration/listing of items in a collection. 2. Repetition of conjunctions for emphasis.. | 35 | |
| 6713030857 | What does SOAPSTone stand for? | Speaker, Occasion, Audience, Purpose, Subject , Tone | 36 | |
| 6713039073 | Speaker (SOAPSTone) | The voice that tells the story. | 37 | |
| 6713039074 | Occasion (SOAPSTone) | 1. The time and the place of the piece; the context that prompted the writing. (Writing does not occur in a vacuum...) 2. Larger Occasion: All writers are influenced by the larger occasion: an environment of ideas, attitudes, and emotions that swirl around a broad issue. 3. Immediate Occasion: Then there is the immediate occasion: an event or situation that catches the writer's attention and triggers a response. | 38 | |
| 6713041860 | Audience (SOAPSTone) | The group of readers to whom this piece is directed. Authors will typically have a TARGET audience in mind when they write persuasive pieces. | 39 | |
| 6713054126 | Purpose (SOAPSTone) | The reason behind a text. The goal or intended outcome. Ask yourself this question about the AUTHOR's PURPOSE: "What does the author want their audience to think or do as a result of reading the text?" | 40 | |
| 6713055555 | Subject (SOAPSTone) | The reason behind the text. Think about Authorial Intent. | 41 | |
| 6713060000 | Tone (SOAPSTone) | 1. The attitude of the author. 2. The spoken word can convey the speaker's attitude and thus help impart meaning through tone of voice. With the written word, tone extends meaning beyond the literal, and students must learn to convey this tone in their diction (choice of words), syntax (sentence construction), and imagery (metaphors, similes, and other types of figurative language). The ability to manage tone is one of the best indicators of a sophisticated writer. | 42 | |
| 6713200050 | Analogy | A comparison that points out similarities between two dissimilar things; that points out several similarities between two unlike things is called an EXTENDED analogy. | 43 | |
| 6713214783 | Antithesis | An opposition or contrast of ideas by means of a grammatical arrangements of words, clauses, or sentences. (ex: ask not what your country can do for you, but what you can do for your country) | 44 | |
| 6713214784 | Litotes | A form of understatement--the negative of the contrary is used to achieve emphasis or intensity. (ex. he is not a bad dancer OR heat waves are not rare in the summer)... | 45 | |
| 6713216978 | Paradox | A statement that seems self-contradictory but is nevertheless (upon closer inspection) true. | 46 | |
| 6713225936 | Metonymy | A form of metaphor that uses the whole to represent a single part. The metaphorical image is closely associated with (but not an actual part of the subject to which it's being compared). EX: "The White House says..."--break it down...the white house doesn't talk, but you know that it's referring to the president or the government or some form of the White House's correspondence. | 47 | |
| 6713225937 | Declarative Sentence | A sentence that makes a STATEMENT. | 48 | |
| 6713227220 | Anecdote | A short narrative, story, or tale told by the narrator in a book--often used to make a point or draw emphasis. | 49 | |
| 6713227221 | Parable | A story consisting of events that have a moral, lesson, or some sort of spiritual truth that the reader is supposed to discover. | 50 | |
| 6713228390 | Chiasmus | Reverse parallelism. | 51 | |
| 6713229857 | Allegory | A story that has a double meaning. There is one story on the surface and a second meaning to be read underneath the surface. | 52 | |
| 6713246238 | A Good Claim is... | 1. Not Obvious 2. Engaging 3. Not Overly Vague 4. Logical 5. Debatable 6. Complex and Hypotactic--Multiple Angles for the Argument | 53 | |
| 6746547229 | Interrogative Sentence | A sentence that ASKS A QUESTION or makes an inquiry--think INTERROGATION (people asking a bunch of questions and shining a light in a suspect's face...) | 54 | |
| 6746548903 | Exclamatory Sentence | A sentence that makes a strong statement or conveys a strong or sudden sense of emotion. EXCLAMATION! | 55 | |
| 6746550676 | Imperative Sentence | A sentence that expresses a COMMAND or REQUEST. (think...it is IMPERATIVE or ESSENTIAL that you do this now!) | 56 | |
| 6746550677 | Logos | Logic or Reasoning used by an author or speaker to support a claim or a point of view. STATISTICS, FACTS, EVIDENCE to support a claim are all examples of OBJECTIVE logic and reasoning or factual information to support an argument. (ex: claim=we need more healthy food options in school cafeterias; appeal to logos=statistics about childhood obesity) | 57 | |
| 6746550678 | Ethos | The author's CREDIBILITY or AUTHORITY to speak about a particular subject. (established through mentioning education, degrees, experience with the subject at hand, colloquial language and connecting with the audience, etc)--essentially, "BEEN THERE, DONE THAT--I can relate with you and I [the author] have authority to speak about this topic] | 58 | |
| 6746552552 | Pathos | Appeal to emotion--the ability to pull at your heart strings and either make you laugh, cry, or feel empathy for any number of reasons. The argument is compelling because it appeals to your emotions. | 59 | |
| 6746552553 | Rhetorical Appeals | Logos, Ethos, Pathos (logic, credibility, emotion) | 60 | |
| 6746575422 | Elegy | A poem or prose selection that laments or is sad about the loss or passing or death of someone or something of value. (elegiac--think about a funeral speech or something along those lines... sad about a loss) | 61 | |
| 6746577057 | Eulogy | A speech or piece of writing that praises someone or something highly, typically someone who has just died. | 62 | |
| 6746580323 | Connotation | The suggested or implied meaning of a word (direct opposite of denotation). Connotation is the meaning beneath the surface--sometimes is the emotional content, figurative meaning, etc. | 63 | |
| 6746580324 | Denotation | The straight-forward, on-the-surface, dictionary definition of a word (the opposite of connotation). | 64 | |
| 6746607352 | Euphemism | A mild or less negative usage for a harsh or blunt term. Just a nicer way of saying something that is bad or negative. (ex. to "pass away" is a euphemism for to "die") | 65 | |
| 6746607353 | Diction | Word Choice (often connected to tone) | 66 | |
| 6746609052 | Epigram | A concise but witty and thoughtful statement. | 67 | |
| 6746611016 | Epithet | An adjective or phrase that expresses a striking quality of a person--usually introduced before a name-- | 68 | |
| 6747256942 | Oxymoron | A term or phrase consisting of opposite or contrasting elements--juxtaposed to create a paradoxical effect (ex: jumbo shrimp or loud silence) | 69 | |
| 6747279031 | Idiom | A colloquial use of words peculiar to a certain language. When translated, it does not carry the same meaning. For example: "it's raining cats and dogs" or "he woke up on the wrong side of the bed" | 70 | |
| 6748352428 | Allusion | Short, informal reference to a person or event--always used to create an effect or enhance the meaning of an idea. | 71 | |
| 6748393553 | Ad Hominem | Directed to or appealing to feelings or prejudices (emotions or perception), RATHER THAN intellect, rationality, or reason. | 72 | |
| 6748401472 | Anachronism | A person, scene, event that fails to correspond with an appropriate time or era. (Columbus sailing to the US--um...that's not possible because the United States were not created before Columbus died...) | 73 | |
| 6748423170 | Antagonist | A character or force in a text that produces tension or conflict (by opposing the protagonist). ...An oppositional person or force. | 74 | |
| 6748441289 | Aphorism | Like "maxim," it is a short, pithy statement of truth. | 75 | |
| 6748446543 | Circumlocution | Talking "around" a topic, instead of addressing it directly or head on. | 76 | |
| 6748461523 | Assonance | The repetition of two or more vowel sounds. | 77 | |
| 6748464323 | Consonance | Repetition of two or more consonant sounds. | 78 | |
| 6748487809 | Euphony | Pleasing, harmonious sounds. | 79 | |
| 6748495447 | Exposition | The background and events that lead to the presentation of the main idea or purpose of an essay. | 80 | |
| 6748500954 | Fallacy | An incorrect belief, assertion, or conclusion based on faulty data, defective evidence, false information or flawed logic. | 81 | |
| 6748511268 | Homily | A lecture or sermon that has a religious or moral theme that's meant to guide human behavior. | 82 | |
| 6748523891 | Loose Sentence | A sentence that follows the customary word order of English sentences--subject, verb, object. Essentially, the main idea is presented first AND THEN followed by one or more clauses that provide additional information. | 83 | |
| 6748572715 | Maxim | A saying or expression that reveals the truth. | 84 | |
| 6748583796 | Non Sequitur | A statement or idea that fails to follow logically from the one before. | 85 | |
| 6748588461 | Pathetic Fallacy | Faulty reasoning that inappropriately ascribes human feelings to nature or non-human objects. | 86 | |
| 6748602778 | Periodic Sentence | A sentence that departs from the usual word order of Standard English--by expressing its main thought only at the end. THE MAIN IDEA IS PRESENTED AT THE END OF THE SENTENCE. | 87 |
