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| 5840975053 | rhetorical appeals | Rhetorical techniques used to persuade an audience by emphasizing what they find most important or compelling. The three major appeals are the ethos (character), logos (reason), and pathos (emotion). | 0 | |
| 5840975054 | ethos | Greek for "character." Speakers appeal to ethos to demonstrate that they are credible and trustworthy to speak on a given topic. Ethos is established by both who you are and what you say. | 1 | |
| 5840975055 | counterargument | An opposing argument to the one a writer is putting forward. Rather than ignoring a counterargument, a strong writer will usually address it through the process of concession and refutation. | 2 | |
| 5840975056 | concession (concede) | An acknowledgement that an opposing argument may be true or reasonable. In a strong argument, a concession is usually accompanied by a refutation challenging the validity of the opposing argument. | 3 | |
| 5840975057 | refutation (refute) | A denial of the validity of an opposing argument. In order to sound reasonable, refutations often follow a concession that acknowledges that an opposing argument may be true or reasonable. | 4 | |
| 5840975058 | logos | Greek for "embodied thought." Speakers appeal to logos or reason, by offering clear, rational ideas and using specific details, examples, facts, statistics, or expert testimony to back them up. | 5 | |
| 5840975059 | connatation | Meanings or associations that readers have with a word beyond its dictionary definition, or denotation. Connotations are usually positive or negative, and they can greatly affect the author's tone. | 6 | |
| 5840975060 | pathos | Greek for "suffering" or "experience." Speakers appeal to pathos to emotionally motivate their audience. More specific appeals to pathos might play on the audience's values, desires, and hopes, on the one hand, or fears and prejudices, on the other. | 7 | |
| 5840975061 | Aristotelian Triangle | (Rhetorical Triangle) a diagram that illustrates the interrelationship among the speaker, audience, and the subject in determining a text. |  | 8 |
| 5840975062 | audience | the listener, viewer, or reader of a text. Most texts are likely to have multiple audiences | 9 | |
| 5840975063 | context | In the circumstances, atmosphere, attitudes, and events surrounding a text. | 10 | |
| 5840975064 | occasion | The time and place a speech is given or a piece is written. | 11 | |
| 5840975065 | persona | Greek for "mask." The face or character that a speaker shows to his or her audience. | 12 | |
| 5840975066 | polemic | Greek for "hostile." An aggressive argument that tries to establish the superiority of one opinion over all others. Polemics generally do not concede that opposing opinions have any merit. | 13 | |
| 5840975067 | propaganda | The spread of ideas and information to further a cause. In its negative sense, propaganda is the use of rumors, lies, disinformation, and scare tactics in order to damage or promote a cause. | 14 | |
| 5840975068 | purpose | The goal the speaker wants to achieve. | 15 | |
| 5840975069 | rhetoric | As Aristotle defined the term, "the faculty of observing in any given case the available means of persuasion." In other words, it is the art of finding ways to persuade an audience. | 16 | |
| 5840975070 | SOAPS | A mnemonic device that stands for Subject, Occasion, Audience, Purpose, and Speaker. It is a handy way to remember the various elements that make up the rhetorical situation. | 17 | |
| 5840975071 | speaker | The person or group who creates a text. This might be a politician who delivers a speech, a commentator who writes an article, an artist who draws a political cartoon, or even a company that commissions an advertisement. | 18 | |
| 5840975072 | subject | The topic of a text. What the text is about. | 19 | |
| 5840975073 | text | While this terms generally means the written word, in the humanities it has come to mean any cultural product that can be "read"-meaning not just consumed and comprehended, but investigated. This includes fiction, nonfiction, poetry, political cartoons, fine art, photography, performances, fashion, cultural trends, and much more. | 20 | |
| 5840975074 | diction | the speaker's choice of words | 21 | |
| 5840975075 | syntax | how the words are arranged | 22 | |
| 5840975076 | tone | the speaker's attitude toward's the subject as revealed by his or her choice of language | 23 | |
| 5840975077 | mood | the feeling created by the work | 24 | |
| 5840975078 | metaphor | Figure of speech that compares two things without using like or as. | 25 | |
| 5840975079 | similes | figure of speech that compares two things using like or as | 26 | |
| 5840975080 | personification | Attribution of a lifelike quality to an inanimate object or idea. | 27 | |
| 5840975081 | hyperbole | exaggerated statements or claims not meant to be taken seriously | 28 | |
| 5840975082 | parallelism | Similarity of structure in a pair or series of related words, phrases, or clauses. | 29 | |
| 5840975083 | juxtaposition | Placement of two things closely together to emphasize similarities or differences. | 30 | |
| 5840975084 | antithesis | Opposition, or contrast, of ideas or words in a parallel construction. | 31 | |
| 5840975085 | compound sentence | a sentence with more than one subject or predicate | 32 | |
| 5840975086 | complex sentence | a sentence containing a subordinate clause or clauses | 33 | |
| 5840975087 | periodic sentence | Sentence whose main clause is withheld until the end. | 34 | |
| 5840975088 | cumulative sentence | Sentence that completes the main idea at the beginning of the sentence and then builds and adds on. | 35 | |
| 5840975089 | imperative sentence | Sentence used to command or enjoin. | 36 | |
| 5840975090 | pacing | How fast a story unfolds. Do they reveal details quickly or slowly? How does he or she build suspense? | 37 | |
| 5840975091 | figures of speech | a word or phrase used in a nonliteral sense to add rhetorical force to a spoken or written passage | 38 | |
| 5840975092 | zeugma | Use of two different words in a grammatically similar way that produces different, often incongruous meanings. | 39 | |
| 5840975093 | satire | the use of irony or sarcasm to criticize | 40 | |
| 5840975094 | anaphora | Repetition of a word or phrase at the beginning of successive phrases, clauses, or lines. | 41 | |
| 5840975095 | hortative sentence | Sentence that exhorts, urges, entreats, implores, or calls to action. | 42 | |
| 5840975096 | alliteration | Repetition of the same sound beginning several words or syllables in sequence. | 43 | |
| 5840975097 | allusion | Brief reference to a person, event, or place (real or fictitious) or to a work of art. | 44 | |
| 5840975098 | antimetabole | Repetition of words in reverse order. | 45 | |
| 5840975099 | archaic diction | Old-fashioned or outdated choice of words. | 46 | |
| 5840975100 | Asyndeton | Omission of conjunctions between coordinate phrases, clauses, or words. | 47 | |
| 5840975101 | inversion | Inverted order of words in a sentence (variation of the subject-verb-object order). | 48 | |
| 5840975102 | oxymoron | Paradoxical juxtaposition of words that seem to contradict one another. | 49 | |
| 5840975103 | rhetorical question | Figure of speech in form of a question posed for the rhetorical effect rather than for the purpose of getting an answer. | 50 | |
| 5840975104 | synedoche | Figure of speech that uses a part to represent a whole. | 51 | |
| 5840975105 | imagery | when a writer attempts to describe something that appeals to our five senses (sight, smell, taste, touch, hearing) | 52 | |
| 5840975106 | argument | A process of reasoned inquiry; a persuasive discourse resulting in a coherent and considered movement from claim to conclusion. | 53 | |
| 5840975107 | Rogerian Arguments | Developed by psychiatrist Carl Rogers, Rogerian arguments are based on the assumption that having a understanding of an opposing position is essential to responding to it persuasively and refuting it in a way that is accommodating rather than alienating. | 54 | |
| 5840975108 | claim | Also called an assertion or a proposition, a claim states the argument's main idea or position. A claim differs from a topic or subject in that a claim has to be arguable. | 55 | |
| 5840975109 | claim of fact | A claim of fact asserts that something is true or not true. | 56 | |
| 5840975110 | claim of value | A claim of value argues that something is good or bad, right or wrong. | 57 | |
| 5840975111 | claim of policy | A claim of policy proposes a change. | 58 | |
| 5840975112 | closed thesis | A closed thesis is a statement of the main idea of the argument that also previews the major points the writer intends to make. | 59 | |
| 5840975113 | open thesis | An open thesis statement is one that does not list all the points the writer intends to cover in an essay. | 60 | |
| 5840975114 | counterargument thesis | a summary of the counterargument, usually qualified by although or but, precedes the writer's opinion | 61 | |
| 5840975115 | logical fallacy (fallacy) | Logical fallacies are potential vulnerabilities or weaknesses in an argument. They often arise from a failure to make a logical connection between the claim and the evidence used to support it. | 62 | |
| 5840975116 | red herring | when a speaker skips to a new and irrelevant topic in order to avoid the topic of discussion | 63 | |
| 5840975117 | ad hominem | Latin for "to the man," this fallacy refers to the specific diversionary tactic of switching the argument from the issue at hand to the character of the other speaker. If you argue that a park in your community should not be renovated because the person supporting it was arrested during a domestic dispute, then you are guilty of ad hominem. | 64 | |
| 5840975118 | faulty analogy | A fallacy that occurs when an analogy compares two things that are not comparable. For instance, to argue that because we put animals who are in irreversible pain out of their misery, we should do the same for people, asks the reader to ignore significant and profound differences between animals and people. | 65 | |
| 5840975119 | straw man | A fallacy that occurs when a speaker chooses a deliberately poor or oversimplified example in order to ridicule and refute an idea. | 66 | |
| 5840975120 | either/or (false dilemma) | A fallacy in which the speaker presents two extreme options as the only possible choices. | 67 | |
| 5840975121 | hasty generalization | A fallacy in which conclusion is reached because of inadequate evidence. | 68 | |
| 5840975122 | circular reasoning | A fallacy in which the writer repeats the claim as a way to provide evidence. | 69 | |
| 5840975123 | first-hand evidence | Evidence based on something that the writer knows, whether it's from personal experience, observations, or general knowledge of events. | 70 | |
| 5840975124 | second-hand evidence | Evidence that is accessed through research, reading, and investigation. It includes factual and historical information, expert opinion, and quantitative data. | 71 | |
| 5840975125 | post hoc ergo propter hoc | This fallacy is Latin for "after which therefore because of which," meaning that it is incorrect to always claim that something is a clause just because it happened earlier. One may loosely summarize this fallacy by saying that correlation does not simply imply causation. | 72 | |
| 5840975126 | appeal to false authority | This fallacy occurs when someone who has no expertise to speak on a issue is cited as an authority. A TV star, for instance, is not a medical expert, even though pharmaceutical advertisements often use celebrity endorsements. | 73 | |
| 5840975127 | quantitative evidence | Quantitative evidence includes things that can be measured, cited, counted, or otherwise represented in numbers-for instance, statistics, surveys, polls, census information. | 74 | |
| 5840975128 | ad populum (bandwagon appeal) | This fallacy occurs when evidence boils down to "everybody's doing it, so it must be a good thing to do." | 75 | |
| 5840975129 | introduction (exordium) | Introduces the reader to the subject under discussion. | 76 | |
| 5840975130 | narration (narratio) | Provides factual information and background material on the subject at hand or establishes why the subject is a problem that needs addressing. | 77 | |
| 5840975131 | confirmation (confirmatio) | Usually the major part of the text, the confirmation includes the proof needed to make the writer's case. | 78 | |
| 5840975132 | refutation (refutatio) | Addresses the counterargument. It is a bridge between the writer's proof and conclusion. | 79 | |
| 5840975133 | conclusion (peroratio) | Brings the essay to a satisfying close. | 80 | |
| 5840975134 | induction | From the Latin inducere, "to lead into"; a logical process whereby the writer reasons from particulars to universals, using specific cases in order to draw a conclusion, which is also called generalization. | 81 | |
| 5840975135 | deduction | Deduction is a logical process whereby one reaches a conclusion by starting with a general principal or universal truth (a major premise). The process of deduction usually demonstrated in the form of a syllogism. | 82 | |
| 5840975136 | syllogism | A logical structure that uses the major premise and minor premise to reach a necessary conclusion. | 83 | |
| 5840975137 | Toulmin model | An approach to analyzing and constructing arguments created by British philosopher Stephen Toulmin in his book The Uses of Argument (1985). The Toulmin model can be stated as a template: Because (evidence as support), therefore (claim), since (warrant or assumption), on account of (backing), unless (reservation). | 84 | |
| 5840975138 | warrant | In the Toulmin model, the warrant expresses the assumption necessarily shared by the speaker and the audience. | 85 | |
| 5840975139 | assumption | In the Toulmin model, the warrant expresses the assumption necessarily shared by the speaker and the audience. | 86 | |
| 5840975140 | backing | In the Toulmin model, backing consists of further assurances or data without which the assumption lacks authority. | 87 | |
| 5840975141 | qualifier | In the Toulmin model, the qualifier uses words like usually, probably, maybe, in most cases, and most likely to temper the claim, making it less absolute. | 88 | |
| 5840975142 | reservation | In the Toulmin model, a reservation explains the terms and conditions necessitated by the qualifier. | 89 | |
| 5840975143 | rebuttal | In the Toulmin model, a rebuttal gives voice to possible objections. | 90 | |
| 5840975144 | begging the question | A fallacy in which a claim is based on evidence or support that is in doubt. It "begs" a question whether the support itself is sound. | 91 | |
| 5840975145 | the classical oration | Five-part argument structure used by classical rhetoricians. The five parts are: -introduction (exordium) -narration (narratio) -confirmation (confirmatio) -refutation (refutatio) -conclusion (peroratio) | 92 |
