Terms : Hide Images
| 14610681792 | 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. | 0 | |
| 14610681793 | 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." (latin for "to the people") | 1 | |
| 14610681794 | Allegory | a literary work that portrays abstract ideas concretely; characters in an ... are frequently personifications of abstract ideas and are given names that refer to those ideas | 2 | |
| 14610681795 | Alliteration | repetition of the same consonant sound at the beginning of several words or syllables in a sequence | 3 | |
| 14610681796 | allusion | brief reference to a person, event, or place (real or fictitious) or to a work of art | 4 | |
| 14610681797 | analogy | a comparison between two seemingly dissimilar things | 5 | |
| 14610681798 | anaphora | repetition of a word or phrase at the beginning of successive phrases, clauses, or lines | 6 | |
| 14610681799 | anecdote | a brief story used to illustrate a point or claim | 7 | |
| 14610681800 | annotation | the taking of notes directly on a text | 8 | |
| 14610681801 | Antimetabole | Repetition of words in reverse order | 9 | |
| 14610681802 | Anithesis | opposition, or contrast, of ideas or words in a parallel construction | 10 | |
| 14610681803 | Apostrophe | a direct address to an abstraction, a thing, an animal, or an imaginary or absent person | 11 | |
| 14610681804 | appeal to false authority | This fallacy occurs when someone who has no credibility to speak on an issue is cited as an authority. | 12 | |
| 14610681805 | archaic diction | old-fashioned or outdated choice of words | 13 | |
| 14610681806 | argument | A process of reasoned inquiry; a persuasive discourse resulting in a coherent and considered movement from a claim to a conclusion. | 14 | |
| 14610681807 | Aristotelian triangle | (rhetorical triangle) A diagram that illustrates the interrelationship among the speaker, audience, and subject in determining a text. | 15 | |
| 14610681808 | assertion | a statement that presents a claim or thesis | 16 | |
| 14610681809 | Assonance | the repetition of vowel sounds in a sequence of words | 17 | |
| 14610681810 | assumption | expresses the assumption necessarily shared by the speaker and the audience (warrant) | 18 | |
| 14610681811 | Asyndeton | omission of conjunctions between coordinate phrases, clauses, or words | 19 | |
| 14610681812 | audience | the listener, viewer, or reader of a text | 20 | |
| 14610681813 | Backing | further assurances or data without which the assumption lacks authority | 21 | |
| 14610681814 | begging the question | A fallacy in which a claim is based on evidence or support that is in doubt. | 22 | |
| 14610681815 | bias | a prejudice or preconceived notion that prevents a person from approaching a topic in a neutral way | 23 | |
| 14610681816 | blank verse | unrhymed iambic pentameter | 24 | |
| 14610681817 | Caesura | a pause in a line of poetry that mirrors natural speech | 25 | |
| 14610681818 | Characterization | A method an author uses to let readers know more about the characters and their personal traits. | 26 | |
| 14610681819 | direct characterization | Author directly describes character | 27 | |
| 14610681820 | indirect characterization | the process by which the personality of a fictitious character is revealed through the character's speech or actions | 28 | |
| 14610681821 | circular reasoning | a fallacy in which the writer repeats the claim as a way to provide evidence | 29 | |
| 14610681822 | claim | states the argument's main idea or position | 30 | |
| 14610681823 | claim of fact | asserts that something is true or not true | 31 | |
| 14610681824 | claim of policy | proposes a change | 32 | |
| 14610681825 | claim of value | argues that something is good or bad, right or wrong | 33 | |
| 14610681826 | classical oration | five-part argument structure used by classical rhetoricians | 34 | |
| 14610681827 | introduction (exordium) | introduces the reader to the subject under discussion | 35 | |
| 14610681828 | narration (narratio) | Provides factual information and background material on the subject at hand or establishes why the subject is a problem that needs addressing. | 36 | |
| 14610681829 | confirmation (confirmatio) | Usually the major part of the text, the confirmation includes the proof needed to make the writer's case. | 37 | |
| 14610681830 | refutation (refutatio) | addresses the counterargument; a bridge between the writer's proof and conclusion | 38 | |
| 14610681831 | conclusion (peroratio) | brings the essay to a satisfying close | 39 | |
| 14610681832 | Closed thesis | A statement of the main idea of the argument that also previews the major points the writer intends to make | 40 | |
| 14610681833 | Complex sentence | A sentence that includes one independent clause in at least one Dependant clause | 41 | |
| 14610681834 | Compound sentence | two or more independent clauses | 42 | |
| 14610681835 | concession | An acknowledgment that an opposing argument may be true or reasonable ; in a strong argument a concession is usually accompanied by refutation challenging the validity of the opposing argument | 43 | |
| 14610681836 | Connotation | meanings or associations that readers have with the word beyond its dictionary definition or denotation; connotations are often positive or negative and greatly affect the authors tone | 44 | |
| 14610681837 | context | The circumstances, atmosphere, attitudes, and events surrounding a text. | 45 | |
| 14610681838 | Counter argument | An opposing argument to the one a writer is putting forward rather than ignoring the counter argument stronger writer will usually address it to the process of concession and reputation | 46 | |
| 14610681839 | Counter argument thesis | A type of thesis statement that includes a brief counter argument usually qualified with all that or but | 47 | |
| 14610681840 | Cumulative sentence | sentence that completes the main idea at the beginning of the sentence and then builds and adds on | 48 | |
| 14610681841 | deduction | Logical process where in you reach a conclusion by starting with the general principle or universal truths and applying it to a specific case | 49 | |
| 14610681842 | Diction | A writer's or speaker's choice of words | 50 | |
| 14610681843 | either/or (false dilemma) | A fallacy in which the speaker presents two extreme options as the only possible choices. | 51 | |
| 14610681844 | Ekphrasis | Art or writing comments on another genre for instants a work of art that comments a piece of music or a poem that comments on a painting | 52 | |
| 14610681845 | Enjambment | A poetic technique in which one line ends without a pause and continue to the next want to complete its meaning | 53 | |
| 14610681846 | Enthymeme | A syllogism with one of the premises implied and taken for granted as true | 54 | |
| 14610681847 | epigram | a short, witty statement designed to surprise an audience or a reader | 55 | |
| 14610681848 | Epigraph | A quotation preceding a work of literature that helps set the text's mood or suggests it's themes | 56 | |
| 14610681849 | Equivocation | A fallacy that uses a term with two or more meanings in an attempt to misrepresent or deceive | 57 | |
| 14610681850 | Ethos | Greek for character; speakers use this to demonstrate that they are credible and trustworthy to speak on the given topic; is established by who you are and what you say | 58 | |
| 14610681851 | Eulogy | A poem, a speech, or another work written in great praise of something; usually a person no longer living | 59 | |
| 14610681852 | faulty analogy | a fallacy that occurs when an analogy compares not comparable | 60 | |
| 14610681853 | figurative language/figure of speech | non-literal language, often in evoking strong imagery, sometimes referred to as a trope; often compare one thing to another explicitly or implicitly | 61 | |
| 14610681854 | first-hand evidence | evidence based on something the writer knows, whether from personal experience, observation, or general knowledge of events | 62 | |
| 14610681855 | form | refers to the defining structural characteristics of a work, especially a poem | 63 | |
| 14610681856 | Hasty Generalization | A fallacy in which a faulty conclusion is reached because of inadequate evidence | 64 | |
| 14610681857 | hortative sentence | sentence that exhorts, urges, entreats, implores, or calls to action | 65 | |
| 14610681858 | Hyperbole | deliberate exaggeration used for emphasis or to produce a comic or an ironic effect; an overstatement to make a point | 66 | |
| 14610681859 | iambic pentameter | an iamb, the most common metrical foot in English poetry, is made up of an unstressed syllable followed by a stressed one. *a rhythmic meter containing five iambs | 67 | |
| 14610681860 | Imagery | a description of how something looks, feels, tastes, smells, or sounds | 68 | |
| 14610681861 | imperative sentence | sentence used to command or enjoin | 69 | |
| 14610681862 | Induction | A logical process wherein you reason from particulars to universals, using specific cases in order to draw a conclusion, which is also called a generalization. | 70 | |
| 14610681863 | Inversion | inverted order of words in a sentence (variation of the subject-verb-object order) | 71 | |
| 14610681864 | Irony (Dramatic) | tension created by the contrast between what a character says or thinks and what the audience or readers know to be true; as a result of this technique, some words and actions in a story or play take on a different meaning for the reader than they do for the characters | 72 | |
| 14610681865 | Irony (situational) | a discrepancy between what is expected and what actually happens | 73 | |
| 14610681866 | Irony (verbal) | A figure of speech that occurs when a speaker or character says one thing but mean something else or when what is said is the opposite of what is expected, creating a noticeable incongruity | 74 | |
| 14610681867 | Juxtaposition | placement of two things closely together to emphasize similarities or differences | 75 | |
| 14610681868 | Logical Fallacies | 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 | 76 | |
| 14610681869 | Logos | Greek for "embodied thought". speakers appeal to reason by offering clear, rational ideas using specific details, examples, facts, statistics, or expert testimony to back them up | 77 | |
| 14610681870 | Metaphor | figure of speech that compares two things without using like or as | 78 | |
| 14610681871 | meter | The formal, regular organization of stressed and unstressed syllables, measured in feet. A foot is distinguished by the number of syllables it contains and how stress is placed on the syllables. | 79 | |
| 14610681872 | Metonomy | figure of speech in which something is represented by another thing that is related to it or emblematic of it | 80 | |
| 14610681873 | Modernism | In literature, this refers to a movement of writers that reached its Apex between the 1920s in the 1930s and expressed disillusionment with contemporary western civilization, especially in the wake of world war 1's mindless slaughter. | 81 | |
| 14610681874 | modifier | an adjective, and adverb, a phrase, or a clause that modifies a noun, pronoun, or verb; usually used to describe, focus, or qualify | 82 | |
| 14610681875 | Mood | The feeling or atmosphere created by a text | 83 | |
| 14610681876 | narrative frame | (also known as a frame story) a plot device in which the author places the main narrative of his or her work within another narrative; this exterior narrative usually serves to explain the main narrative in someway | 84 | |
| 14610681877 | Nominalization | The process of changing a verb into a noun | 85 | |
| 14610681878 | occasion | The time and place a speech is given or a piece is written | 86 | |
| 14610681879 | Onomatopoeia | use of words that refer to sounds and whose pronunciations mimic those sounds | 87 | |
| 14610681880 | open thesis | thesis that does not list all the points the writer intends to cover in the essay | 88 | |
| 14610681881 | Oxymoron | a paradox made up of two seemingly contradictory words | 89 | |
| 14610681882 | Paradox | A statement or situation that is seemingly contradictory on the surface but delivers an ironic truth | 90 | |
| 14610681883 | Parallelism | similarity of structure in a pair or series of related words, phrases, or clauses | 91 | |
| 14610681884 | passive voice | when the subject of a sentence doesn't act but is acted on | 92 | |
| 14610681885 | pathos | Greek for "suffering" or "experience". Speakers appeal to this to emotionally motivate their audience. More specific appeals might play on the audience's values, desires, and hopes, on the one hand, or fears and prejudices, on the other | 93 | |
| 14610681886 | Periodic sentence | A sentence whose main clause is withheld until the end | 94 | |
| 14610681887 | Persona | Greek for "mask ". The face or character that a speaker shows to his or her audience | 95 | |
| 14610681888 | Personification | attribution of a life-like quality to an inanimate object or an idea | 96 | |
| 14610681889 | Poetic syntax | Includes the arrangement of words into lines of poetry - where they break and do not break, the use of enjambment or caesura, and line lengths and patterns | 97 | |
| 14610681890 | polemic | Greek for "hostile ". An aggressive argument that tries to establish the superiority of one opinion over all others, generally does not concede that opposing opinions have any merit | 98 | |
| 14610681891 | polysyndeton | The deliberate use of multiple conjunctions between coordinate phrases, clauses, or words | 99 | |
| 14610681892 | Point of view | The perspective from which a work is told | 100 | |
| 14610681893 | First person | told by narrator who is a character in the story and her refers to him or herself as "I" (not always reliable because they might not see the big picture or are biased) | 101 | |
| 14610681894 | Second person | some stores are told using second person pronouns (you). this casts the reader as a character in the story | 102 | |
| 14610681895 | third person limited omniscient | told by a narrator for relates the action using third person pronouns (he, she, it) this narrator is usually privy to the thoughts and actions of only one character | 103 | |
| 14610681896 | Third person omniscient | told by narrator using third person pronouns. This narrator is privy to the thoughts and actions all the characters in the story | 104 | |
| 14610681897 | Post hoc ergo propter hoc | This fallacy is Latin for "after which therefore it because of which", meaning that it is incorrect to always claim that something is a cause just because it happened earlier. One may loosely summarize this fallacy by saying that correlation does not imply causation | 105 | |
| 14610681898 | Propaganda | The spread of ideas and information to further a cause. in it's negative sense, this is the use of rumors, lies, disinformation, and scare tactics in order to damage or promote a cause | 106 | |
| 14610681899 | pun | A play on words that derives its humor from the replacement of one word with another that has a similar pronunciation or spelling but a different meaning; can also drive humor from use of a single word that has more than one meaning | 107 | |
| 14610681900 | purpose | the goal the speaker wants to achieve | 108 | |
| 14610681901 | qualified argument | and argument that is not absolute. it acknowledges the merits of an opposing view but develops a stronger case for its own position | 109 | |
| 14610681902 | qualifier | words like "usually", "probably", "maybe", "in most cases", and "most likely" that are used to temper claims a bit, making them less absolute | 110 | |
| 14610681903 | qualitative evidence | evidence supported by reason, tradition, or precedent | 111 | |
| 14610681904 | Quantitative evidence | evidence that includes things that can be measured, cited, counted, or otherwise represented in numbers for instance- statistics, surveys, polls, and census information | 112 | |
| 14610681905 | Rebuttal | in the Toulmin model, a rebuttal gives voice to possible objections | 113 | |
| 14610681906 | Red herring | A type of logical fallacy wearing of the speaker relies on distraction to derail an argument, usually by skipping to a new or an ire elevant topic. The term derives from the dried fish that trainers used to distract dogs were teaching them to hunt foxes | 114 | |
| 14610681907 | Reservation | in the Toulmin model, this explains the terms and conditions necessitated by the qualifier | 115 | |
| 14610681908 | Rhetoric | "The faculty of observing in any given case the available means of persuasion" - Aristotle (in other words it is the art of finding ways of persuading audience) | 116 | |
| 14610681909 | Rhetorical appeals | techniques used to persuade an audience by emphasizing what they find most important or compelling | 117 | |
| 14610681910 | Rhetorical question | figure of speech in the form of a question posed for rhetorical effect rather than for the purpose of getting an answer | 118 | |
| 14610681911 | Rhetorical triangle | A diagram that illustrates the interelationship among the speaker, audience, and subject in determining a text | 119 | |
| 14610681912 | rhyme | The poetic repetition of the same or similar vowel sounds or of vowel and consonant combinations | 120 | |
| 14610681913 | end rhyme | a rhyme at the end of two or more lines of poetry | 121 | |
| 14610681914 | Internal rhyme | A rhyme that occurs within a line | 122 | |
| 14610681915 | near rhyme/slant rhyme | A rhyme that pairs sounds that are similar but not exactly the same | 123 | |
| 14610681916 | eye rhyme/sight rhyme | a rhyme that only works because the words look the same | 124 | |
| 14610681917 | Rhyme scheme | A pattern that rhyme often follows | 125 | |
| 14610681918 | rogerian arguments | developed by psychiatrist Carl Rodgers, these arguments are based on the assumption that fully understanding an opposing position is essential to responding to it persuasively and refuting it in a way that is accommodating rather than alienating | 126 | |
| 14610681919 | Satire | The use of irony or sarcasm as a means of critique, usually of a society or an individual | 127 | |
| 14610681920 | Scheme | artful syntax; deviation from the normal order of words | 128 | |
| 14610681921 | Second-hand evidence | evidence that is accessed through research, reading, and investigation. Includes factual and historical information, expert opinion, and quantitative data | 129 | |
| 14610681922 | simile | figure of speech used to explain or clarify an idea by comparing it to something else using the words "like", "as", or "as though" | 130 | |
| 14610681923 | 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 | 131 | |
| 14610681924 | Sonnet, Petrarchan | 14 lines that are divided into an octave and a sestet. | 132 | |
| 14610681925 | Sonnet, Shakespearean | 14 lines that are composed of three quatrains in a couplet | 133 | |
| 14610681926 | Sound | The musical quality of poetry, as creative through techniques such as rhyme, enjambment, caesura, alliteration, accidents, onomatopoeia, and rhythm | 134 | |
| 14610681927 | Speaker | Person or group who creates a text. This might be a politician who delivers a speech, a commentator who wrote an article, and artist who drives a political cartoon, or even a company that commissions an advertisement | 135 | |
| 14610681928 | Stance | a speaker's attitude toward the audience | 136 | |
| 14610681929 | Straw man | a fallacy that occurs when a speaker choose a deliberately poor oversimplified example in order to ridicule and refute an idea | 137 | |
| 14610681930 | Subject | The topic of a text. What the text is about | 138 | |
| 14610681931 | Syllogism | illogical structure that uses the major premise and minor premise to reach a necessary conclusion | 139 | |
| 14610681932 | Symbol | A setting, an object, or an event in a story that carries more than literal meaning in therefore represents something significant to understanding the meaning of a work of literature | 140 | |
| 14610681933 | synecdoche | figure of speech that uses a part to represent the whole | 141 | |
| 14610681934 | Syntax | The arrangement of words and phrases, clauses, and sentences. this includes work order | 142 | |
| 14610681935 | Synthesis | combining two or more ideas in order to create something more complex in support of a new idea | 143 | |
| 14610681936 | text | any cultural product that can be "read ", meaning not just consumed and comprehended but also investigated. This includes fiction, nonfiction, poetry, political cartoons, fine art, photography, performances, fashion, cultural trends, and much more | 144 | |
| 14610681937 | Tone | speaker's attitude toward the subject as conveyed by the speaker's stylistic and rhetorical choices | 145 | |
| 14610681938 | Toulmin model | and approach to analyzing and constructing arguments created by British philosopher Stephen Toulmin in his book "The Uses of Argument" (1958) | 146 | |
| 14610681939 | Trope | artful diction; from the Greek word for "turning ", a figure of speech such as metaphor, simile, hyperbole, metonymy, or syndedoche | 147 | |
| 14610681940 | Understatement | A figure of speech in which something is presented as less important, dire, urgent, good, or so on than it actually is, often for satiric or comical effect | 148 | |
| 14610681941 | Warrant | Expresses the assumption necessarily shared by the speaker and the audience | 149 | |
| 14610681942 | Wit | The use of laughter, humor, irony, and satire in the confirmation of refutation of an argument | 150 | |
| 14610681943 | zeugma | use of two different words in a grammatically similar way that produces different, often incongruous, meanings | 151 |
