Terms : Hide Images
| 13423447849 | logos (logical appeal) | When a writer tries to persuade the audience based on statistics, facts, and reasons. The process of reasoning | 0 | |
| 13423447850 | pathos (emotional appeal) | When a writer appeals to readers' emotions to excite and involve them in the argument | 1 | |
| 13423447851 | ethos (ethical appeal) | When a writer tries to persuade the audience to respect and believe him or her based on a presentation of image of self through the text. Reputation is sometimes a factor in ethical appeal, but in all cases the aim is to gain the audience's confidence | 2 | |
| 13423447852 | aristotle | Greek philosopher. The Aristotelian argument was based on his teachings, that's made to confirm a position or hypothesis to refute an existing argument | 3 | |
| 13423447853 | syllogism | A form of reasoning in which two states are made and a conclusion is drawn from them. The format of a formal argument that consists of a major premise, a minor premise and a conclusion | 4 | |
| 13423447903 | invention | a speaker's "hunt" for arguments that will be effective in a particular speech or piece of writing | 5 | |
| 13423447854 | rhetoric | a technique of using language effectively and persuasively in spoken or written form | 6 | |
| 13423447855 | rhetorical context | the circumstances in which a text is written, including the intended audience, the author's aim or purpose in writing, and the audience's preexisting ideas and opinions | 7 | |
| 13423447856 | arrangement | refers to structuring ideas to convey them effectively to an audience | 8 | |
| 13423447857 | style | An author's characteristic manner of expression - his or her diction, syntax, imagery, structure, and content all contribute to style | 9 | |
| 13423447858 | periodic sentence | A sentence that presents its central meaning in a main clause at the end. Used for emphasis and can be persuasive by putting reasons for something at the beginning before the final point is made | 10 | |
| 13423447859 | 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 | 11 | |
| 13423447860 | antithesis | The presentation of two contrasting images. The ideas are balanced by word, phrase, clause or paragraphs. | 12 | |
| 13423447861 | paralellism | the technique of arranging words, phrases, clauses, or larger structures by placing them side by side and making them similar in form | 13 | |
| 13423447862 | anaphora | the repetition of a certain word or phrase at the beginning of successive lines of writing or speech | 14 | |
| 13423447904 | toulmin scheme | a method of constructing and/or analysing an argument, broken down into six main parts: claim, reasons, warrant, grounds, backing, conditions of rebuttal, qualifier | 15 | |
| 13423447905 | claim | a statement that asserts something to be true, can be factual or a judgement | 16 | |
| 13423447863 | coordination | the joining of words, phrases, or clauses of the same type to give them equal emphasis and importance through the use of common conjunctions and, but, for, or, not, yet and so | 17 | |
| 13423447864 | subordination | the process of linking two clauses in a sentence so that one clause is dependent on another | 18 | |
| 13423447865 | diction | Word choice, an element of style; it creates tone, attitude, and style, as well as meaning. Different types and arrangements of words have significant effects on meaning. | 19 | |
| 13423447866 | syntax | the grammatical structure of a sentence; the arrangement of words in a sentence. Includes length of sentence and kind of sentences (question, exclamations, simple, complex, etc.) | 20 | |
| 13423447867 | tone | the characteristic emotion or attitude of an author toward the characters, subject, and audience (anger, sarcastic, loving, didactic, emotional, etc.) | 21 | |
| 13423447868 | reasons | the points, or evidence that explain why the author is making a certain claim | 22 | |
| 13423447869 | warrant | interprets the data and shows how it supports a claim, explains why the data proves the claim | 23 | |
| 13423447870 | grounds | this is the evidence that functions as the foundation and support for the claim | 24 | |
| 13423447871 | audience | the person or persons who are intended to read a piece of writing | 25 | |
| 13423447872 | speaker | a term used for the author or the person whose perspective (real or imagined) is being advanced in a speech or piece of writing | 26 | |
| 13423447873 | backing | In the Toulmin model, it's the support or explanation provided for the warrant | 27 | |
| 13423447874 | rebuttal | a speaker or writer uses argument and presents reasoning or evidence intended to undermine or weaken another claim | 28 | |
| 13423447875 | qualifier | In the Toulmin model, it uses words like usually, probably, maybe, in most cases, and most likely to temper the claim, making it less absolute | 29 | |
| 13423447876 | counterargument | an opposing argument to the one a writer is putting forward | 30 | |
| 13423447877 | rhetorical triangle | a diagram that represents a rhetorical situation as the relationship among the speaker, the subject, and the audience | 31 | |
| 13423447878 | rogerian approach | negotiating strategy in which common goals are identified and opposing views are described as objectively as possible in an effort to establish common ground and reach an agreement | 32 | |
| 13423447879 | logical fallacy | an error in reasoning that renders an argument invalid | 33 | |
| 13423447880 | reduction | to reduce an agreement to absurdity, by drawing conclusions with logical limits or by showing ridiculous consequences | 34 | |
| 13423447881 | irony | a figure of speech that uses of words to express something other than and especially the opposite of the literal meaning | 35 | |
| 13423447882 | absurdity | the quality or state of being ridiculous or wildly unreasonable | 36 | |
| 13423447883 | follies | lack of good sense, understanding, or foresight | 37 | |
| 13423447884 | vices | an immoral or evil habit or practice | 38 | |
| 13423447885 | exaggeration | a statement that describes something as better or worse than it really is | 39 | |
| 13423447886 | incongruity | to present things that are out of place or are absurd in relation to its surroundings | 40 | |
| 13423447887 | parody | A work that ridicules the style of another work by imitating and exaggerating its elements. It can be utterly mocking or gently humorous | 41 | |
| 13423447906 | reversal | to present the opposite of the normal order, can focus on the order of events, hierarchical order, etc. | 42 | |
| 13423447888 | understatement | a figure of speech employed by writers or speakers to intentionally make a situation seem less important than it really is | 43 | |
| 13423447889 | wit | a form of intelligent humour, the ability to say or write things that are clever and usually funny | 44 | |
| 13423447890 | sarcasm | harsh, cutting language or tone intended to ridicule, less subtle than irony | 45 | |
| 13423447891 | invective | an emotionally violent, verbal denunciation or attack using strong, abusive language | 46 | |
| 13423447892 | horation | gentle, sympathetic form of satire with subject mildly made fun of; the audience is asked to laugh at themselves as much as the players | 47 | |
| 13423447893 | juvenalian | harsh and bitter satire | 48 | |
| 13423447894 | visual rhetoric | A form of rhetoric and communication through the use of visual images, typography and texts. Encompasses the skill of visual literacy and the ability to analyse images for their meaning. | 49 | |
| 13423447895 | antecedents | a literary device in which a word of pronoun in a line of sentence refers to an earlier word | 50 | |
| 13423447896 | juxtaposition | a literary technique in which two or more ideas, places, characters and their actions are placed side by side in a narrative or a poem for the purpose of developing comparisons and contrasts | 51 | |
| 13423447897 | synthesis | a written work that takes a unique viewpoint about a central idea, theme or topic and backs it up with a combination of multiple sources | 52 | |
| 13423447898 | euphemism | a more acceptable and usually more pleasant way of saying something that might be inappropriate or uncomfortable | 53 | |
| 13423447899 | connotation | implied or suggested meaning of a word because of its association in the reader's mind | 54 | |
| 13423447900 | idiom | an expression that takes on a figurative meaning when certain words are combined, which is different from the literal definition of the individual words | 55 | |
| 13423447901 | asyndeton | the omission or absence of a conjunction between parts of a sentence | 56 | |
| 13423447902 | polysyndeton | conjunctions (e.g. and, but, or) are used repeatedly in quick succession, often with no commas, even when the conjunctions could be removed | 57 | |
| 13424368566 | Who wrote In Cold Blood? | Truman Capote | 58 | |
| 13424368567 | who wrote The Stranger in the Photo is Me? | Donald M. Murray | 59 | |
| 13424368568 | who wrote On Natural Death? | Lewis Thomas | 60 | |
| 13424368569 | Who wrote Narrative of the Life of Frederick Douglass? | Frederick Douglass | 61 | |
| 13424368570 | who wrote There Are No Children Here? | Alex Kotlowitz | 62 |
