Terms : Hide Images
| 10387399277 | Cumulative (Loose) Sentence | begins with a main clause that is followed by phrases and/or clauses that modify the main clause. These phrases or clauses add information to the main or independent clause. Ex.) He might consider paying the higher fees at a private university, if the teacher/ student ratio is small, if the teachers are highly qualified, and if the job placement rate is high. | 0 | |
| 10387399278 | Periodic Sentence | a sentence that, by leaving the completion of its main clause to the end, produces an effect of suspense. Ex.) Unable to join the others at the dance because of my sprained ankle, I went to a movie. |  | 1 |
| 10387399279 | Litotes | a figure of speech in which a negative statement is used to affirm a positive statement. Ex.) When asked how someone is doing, that person might respond, "I'm not bad." In fact, this means that the person is doing fine or even quite well. The extent to which the litotes means the opposite is dependent on context. The person saying "I'm not bad," may have recently gone through a divorce and is trying to reassure his friend by saying that things are okay. | 2 | |
| 10387399280 | Ethos | an appeal to ethics and it is a means of convincing someone of the character or credibility of the persuader. | 3 | |
| 10387399281 | Pathos | an appeal to emotion, and is a way of convincing an audience of an argument by creating an emotional response. | 4 | |
| 10387399282 | Logos | an appeal to logic, and is a way of persuading an audience by reason. | 5 | |
| 10387399283 | Concession | 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 if the opposing argument. Ex.) Lou Gehrig concedes what some of his listeners may think—that his bad break is a cause for discouragement or despair. | 6 | |
| 10387399284 | Syllogism | A logical structure that uses the major premise and minor premise to reach a necessary conclusion. |  | 7 |
| 10387399285 | Refutation | a denial of the validity of an opposing argument. In order to sound reasonable, a refutation often follows a concession that acknowledges that an opposing argument may be true or reasonable. One of the stages in classical oration, usually following the confirmation, or proof, and preceding the conclusion, or peroration. Ex.) Lou Gehrig refutes that his bad break is a cause for discouragement by saying that he has "an awful lot to live for!" | 8 | |
| 10387399286 | Diction | a speaker's choice of words. Analysis of diction looks at these choices and what they add to the speaker's message. | 9 | |
| 10387399287 | Metaphor | figure of speech that compares two things without using like or as. Ex.) And if a beachhead of a cooperation may push back the jungle of suspicion. | 10 | |
| 10387399288 | Anaphora | the intentional repetition of beginning clauses in order to create an artistic effect. Ex.) We shall not flag or fail. We shall go on the end. We shall fight in France. We shall fight on the seas and oceans. |  | 11 |
| 10387399289 | Synecdoche | a rhetorical trope involving a part of an object representing the whole, or the whole of an object representing a part. Ex.) "Twenty eyes watched our move." "All hands on deck." | 12 | |
| 10387399290 | Rhetoric | Aristotle defined rhetoric as "the faculty of observing in any given case the available means of persuasion." In other words, it is the art of finding ways of persuading an audience. | 13 | |
| 10387399291 | Allusion | brief reference to a person, event, or place (real or fictitious) to to a work of art. Ex.) Let both sides unite to heed in all corners of the earth the command of Isaiah. | 14 | |
| 10387399292 | Personification | attribution of a lifelike quality to an inanimate object or an idea. Ex.) ...with history the final judge of our deeds... | 15 | |
| 10387399293 | Antithesis | opposition, or contrast or ideas or words in a parallel construction. Ex.) We shall support any friend, oppose any foe. | 16 | |
| 10387399294 | Anecdote | a brief story used to illustrate a point or claim. |  | 17 |
| 10387399295 | Non sequitor | a fallacy of argument in which claims, reasons, or warrants fail to connect logically; one point doesn't follow from another. | 18 | |
| 10387399336 | Allegory | The device of using character and/or story elements symbolically to represent an abstraction in addition to the literal meaning. In some allegories, for example, an author may intend the characters to personify an abstraction like hope or freedom. The allegorical meaning usually deals with moral truth or a generalization about human existence. A story in which each aspect of the story has a symbolic meaning outside the tale itself. | 19 | |
| 10387399337 | Alliteration | The repetition of sounds, especially initial consonant sounds in two or more neighboring words (as in "she sells sea shells"). Although the term is not frequently in the multiple choice section, you can look for alliteration in any essay passage. The repetition can reinforce meaning, unify ideas, supply a musical sound, and/or echo the sense of the passage. |  | 20 |
| 10387399338 | Ambiguity | The multiple meanings, either intentional or unintentional, of a word, phrase, sentence, or passage. |  | 21 |
| 10387399339 | Analogy | A similarity or comparison between two different things or the relationship between them. An analogy can explain something unfamiliar by associating it with or pointing out its similarity to something more familiar. Analogies can also make writing more vivid, imaginative, or intellectually engaging. | 22 | |
| 10387399340 | Antecedent | The word, phrase, or clause referred to by a pronoun. The AP language exam occasionally asks for the antecedent of a given pronoun in a long, complex sentence or in a group of sentences. A question from the 2001 AP test as an example follows: "But it is the grandeur of all truth which can occupy a very high place in human interests that it is never absolutely novel to the meanest of minds; it exists eternally, by way of germ of latent principle, in the lowest as in the highest, needing to be developed but never to be planted." | 23 | |
| 10387399341 | Apostrophe | A prayer like figure of speech that directly addresses an absent or imaginary person or a personified abstraction, such as liberty or love. It is an address to someone or something that cannot answer. The effect may add familiarity or emotional intensity. William Wordsworth addresses John Milton as he writes, "Milton, thou shouldst be living at this hour: England hath need of thee." Another example is Keats' "Ode to a Grecian Urn," in which Keats addresses the urn itself: rarely on an AP exam, but important when there. ALWAYS Pathos | 24 | |
| 10387399342 | Colloquial/Colloquialism | The use of slang or informalities in speech or writing. Not generally acceptable for formal writing, colloquialisms give a work a conversational, familiar tone. Colloquial expressions in writing include local or regional dialect | 25 | |
| 10387399343 | Connotation | The non-literal, associative meaning of a word; the implied, suggested meaning. Connotations may involve ideas, emotions or attitudes | 26 | |
| 10387399344 | Denotation | The strict, literal, dictionary definition of a word, devoid of any emotion, attitude, or color. (Example: the denotation of knife- a utensil for cutting - Connotation - knife - such as knife in the back - anger fear violence betrayal | 27 | |
| 10387399345 | Euphemism | From the Greek for "good speech," euphemisms are a more agreeable or less offensive substitute for a generally unpleasant word or concept - POLITICALLY CORRECT | 28 | |
| 10387399346 | Genre | The major category into which a literary work fits. The basic divisions of literature are prose, poetry, and drama.However, genre is a flexible term; within these broad boundaries exist many subdivisions that are often called genresthemselves. For example, prose can be divided into fiction (novels and short stories) or nonfiction (essays, biographies,autobiographies, etc.). Poetry can be divided into lyric, dramatic, narrative, epic, etc. Drama can be divided into tragedy,comedy, melodrama, farce, etc. On the AP language exam, expect the majority of the passages to be from the following genres: autobiography, biography, diaries, criticism, essays, and journalistic, political, scientific, and nature writing. There may be fiction or poetry. | 29 | |
| 10387399347 | Imagery | The sensory details or figurative language used to describe, arouse emotion, or represent abstractions. On a physical level, imagery uses terms related to the five senses: visual, auditory, tactile, gustatory, and olfactory. On a broader and deeper level, however, one image can represent more than one thing. For example, a rose may present visual imagery while also representing the color in a woman's cheeks and/or symbolizing some degree of perfection. An author may use complex imagery while simultaneously employing other figures of speech, especially metaphor and simile. In addition, this term can apply to the total of all the images in a work. On the AP language exam, pay attention to how an author creates imagery and to the effect of this imagery. | 30 | |
| 10387399348 | Irony/ironic | 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. Irony is often used to create poignancy or humor. In general, there are three major types of irony used in language: (1) verbal irony - when the words literally state the opposite of the writer's (or speaker's) meaning (2) 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 (3) dramatic irony - when facts or events are unknown to a character in a play or piece of fiction but known to the reader, audience, or other characters in the work. | 31 | |
| 10387399349 | Metonymy | (mĕtŏn′ ĭmē) A term from the Greek meaning "changed label" or "substitute name," metonymy is a figure of speech in which the name of one object is substituted for that of another closely associated with it. For example, a news release that claims "the White House declared" rather than "the President declared" is using metonymy; Shakespeare uses it to signify the male and female sexes in As You Like It: "doublet and hose ought to show itself courageous to petticoat." The substituted term generally carries a more potent emotional impact. | 32 | |
| 10387399350 | Mood | The prevailing atmosphere or emotional aura of a work. Setting, tone, and events can affect the mood. Mood is similar to tone and atmosphere. | 33 | |
| 10387399351 | Narrative | The telling of a story or an account of an event or series of events. | 34 | |
| 10387399352 | onomatopoeia | A figure of speech in which natural sounds are imitated in the sounds of words. Simple examples include such words as buzz, hiss, hum, crack, whinny, and murmur. If you note examples of onomatopoeia in an essay passage, note the effect. | 35 | |
| 10387399353 | Oxymoron | From the Greek for "pointedly foolish," an oxymoron is a figure of speech wherein the author groups apparently contradictory terms to suggest a paradox. Simple examples include "jumbo shrimp" and "cruel kindness." This term does not usually appear in the multiple-choice questions, but there is a chance that you might find it in an essay. Take note of the effect that the author achieves with the use of oxymoron. | 36 | |
| 10387399354 | Paradox | A statement that appears to be self-contradictory or opposed to common sense but upon closer inspection contains some degree of truth or validity. (Think of the beginning of Dickens' Tale of Two Cities: "It was the best of times, it was the worst of times....") | 37 | |
| 10387399355 | Parody | A work that closely imitates the style or content of another with the specific aim of comic effect and/or ridicule. It exploits peculiarities of an author's expression (propensity to use too many parentheses, certain favorite words, etc.) Well-written parody offers enlightenment about the original, but poorly written parody offers only ineffectual imitation. nuances of the newer work. Occasionally, however, parodies take on a life of their own and don't require knowledge of the original. | 38 | |
| 10387399356 | Point of view | In literature, the perspective from which a story is told. There are two general divisions of point of view, and many subdivisions within those. (1) first person narrator tells the story with the first person pronoun, "I," and is a character in the story. This narrator can be the protagonist, a secondary character, or an observing character. (2) third person narrator relates the events with the third person pronouns, "he," "she," and "it." There are two main subdivisions to be aware of: a. third person omniscient, in which the narrator, with godlike knowledge, presents the thoughts and actions of any or all characters b. third person limited omniscient, in which the narrator presents the feelings and thoughts of only one character, presenting only the actions of all the remaining characters. In addition, be aware that the term point of view carries an additional meaning. When you are asked to analyze the author's point of view, the appropriate point for you to address is the author's attitude. | 39 | |
| 10387399357 | Prose | one of the major divisions of genre, prose refers to fiction and nonfiction, including all its forms. In prose the printer determines the length of the line; in poetry, the poet determines the length of the line. | 40 | |
| 10387399358 | Repetition | The duplication, either exact or approximate, of any element of language, such as a sound, word, phrase, clause, sentence, or grammatical pattern. | 41 | |
| 10387399359 | Satire | A work that targets human vices and follies or social institutions and conventions for reform or ridicule. Regardless of whether or not the work aims to reform human behavior, satire is best seen as a style of writing rather than a purpose for writing. It can be recognized by the many devices used effectively by the satirist: irony, wit, parody, caricature, often humorous, is thought provoking and insightful about the human condition. Some modern satirists include Joseph Heller (Catch 22) and Kurt Vonnegut (Cat's Cradle, Player Piano). | 42 | |
| 10387399360 | Symbol/symbolism | Generally, anything that represents itself and stands for something else. Usually a symbol is something concrete -- such as an object, action, character, or scene - that represents something more abstract. However, symbols (1) natural symbols are objects and occurrences from nature to symbolize ideas commonly associated with them (dawn symbolizing hope or a new beginning, a rose symbolizing love, a tree symbolizing knowledge). (2) conventional symbols are those that have been invested with meaning by a group (religious symbols such as a cross or Star of David; national symbols, such as a flag or an eagle; or group symbols, such as a skull and crossbones for pirates or the scale of justice for lawyers). (3) literary symbols are sometimes also conventional in the sense that they are found in a variety of works and are more generally recognized. However, a work's symbols may be more complicated, as is the jungle in Heart of Darkness. On the AP exam, try to determine what abstraction an object is a symbol for and to what extent it is successful in representing that abstraction. | 43 | |
| 10387399361 | Syntax | The way an author chooses to join words into phrases, clauses, and sentences. Syntax is similar to diction, but you can differentiate them by thinking of syntax as groups of words, while diction refers to the individual words. In the multiplechoice section of the AP exam, expect to be asked some questions about how an author manipulates syntax. In the essay section, you will need to analyze how syntax produces effects. | 44 | |
| 10387399362 | Thesis | In expository writing, the thesis statement is the sentence or group of sentences that directly expresses the author's opinion, purpose, meaning, or position. Expository writing is usually judged by analyzing how accurately, effectively,and thoroughly a writer has proven the thesis. | 45 | |
| 10387399363 | Tone | Similar to mood, tone describes the author's attitude toward his material, the audience, or both. Tone is easier to determine in spoken language than in written language. Considering how a work would sound if it were read aloud can help in identifying an author's tone. Some words describing tone are playful, serious, businesslike, sarcastic, humorous, formal, ornate, sardonic, somber, etc. | 46 | |
| 10387399364 | Transition | A word or phrase that links different ideas. Used especially, although not exclusively, in expository and argumentative writing, transitions effectively signal a shift from one idea to another. A few commonly used transitional words or phrases are furthermore, consequently, nevertheless, for example, in addition, likewise, similarly, on the contrary, etc. More sophisticated writers use more subtle means of transition. | 47 | |
| 10387399365 | Juxtaposition | Making on idea more dramatic by placing it next to its opposite. | 48 | |
| 10387399366 | Simile | A critical figure of speech in an argument when what is unknown is compared to something that is known using the word "like," "as," or "than" in order to better perceive its importance. Remember the ripple effect and look for patterns in similes and metaphors in any piece of nonfiction prose. The troll's fishing technique was like a mercenary throwing bombs in the water to catch trout. | 49 | |
| 10387399367 | rhetorical appeal | the persuasive devices by which a writer tries to sway an audience's attention and response to any given work. See logos, ethos, and pathos. | 50 | |
| 10387399368 | Asyndeton | A series of words separated by commas (with no conjunction), e.g. "I came, I saw, I conquered." The parts of the sentence are emphasized equally; in addition, the use of commas with no intervening conjunction speeds up the flow of the sentence. | 51 | |
| 10387399369 | audience | One's listener or readership; those to whom a speech or piece of writing is addressed. | 52 | |
| 10387399296 | Adage | A familiar proverb or wise saying | 53 | |
| 10387399297 | Antimetabole | Repetition of words in reverse order | 54 | |
| 10387399298 | Appostive | A word or phrase that renames a nearby noun or pronoun | 55 | |
| 10387399299 | Archetype | a very typical example of a certain person or thing | 56 | |
| 10387399300 | cacophony | harsh, jarring noise | 57 | |
| 10387399301 | Characterization | A method an author uses to let readers know more about the characters and their personal traits. | 58 | |
| 10387399302 | circumlocution | the use of many words when few would do | 59 | |
| 10387399303 | Climax | Most exciting moment of the story; turning point | 60 | |
| 10387399304 | Conceit | A fanciful, particularly clever extended metaphor | 61 | |
| 10387399305 | Context | Words, events, or circumstances that help determine meaning. | 62 | |
| 10387399306 | Counter argument | an argument or set of reasons put forward to oppose an idea or theory developed in another argument. | 63 | |
| 10387399307 | denouement | an outcome or solution; the unraveling of a plot | 64 | |
| 10387399308 | Detail | Facts revealed by the author or speaker that support the attitude or tone in the work | 65 | |
| 10387399309 | Elegy | a sorrowful poem or speech | 66 | |
| 10387399310 | Exposition | a comprehensive description and explanation of an idea or theory. | 67 | |
| 10387399311 | Foreshadowing | the use of hints and clues to suggest what will happen later in a plot | 68 | |
| 10387399312 | horative sentence | sentence that exhorts, urges, entreats, implores, or calls to action | 69 | |
| 10387399313 | imperative sentence | sentence used to command or enjoin | 70 | |
| 10387399314 | Inversion | Inverted order of words in a sentence | 71 | |
| 10387399315 | Motif | A recurring theme, subject or idea | 72 | |
| 10387399316 | Myth | a traditional story presenting supernatural characters and episodes that help explain natural events | 73 | |
| 10387399317 | Occasion | The reason or moment for writing or speaking; The time and place a speech is given or a piece is written | 74 | |
| 10387399318 | organization | arranged in an orderly way | 75 | |
| 10387399319 | Pace | with deference to; with the permission of | 76 | |
| 10387399320 | Parable | A simple story used to illustrate a moral or spiritual lesson | 77 | |
| 10387399321 | parallel structure | the repetition of words or phrases that have similar grammatical structures | 78 | |
| 10387399322 | Pastoral | A work of literature dealing with rural life | 79 | |
| 10387399323 | Persona | An individual's characteristic pattern of thinking, feeling, and acting. | 80 | |
| 10387399324 | Polemic | controversy; argument; verbal attack | 81 | |
| 10387399325 | Propaganda | Ideas spread to influence public opinion for or against a cause | 82 | |
| 10387399326 | Purpose | One's intention or objective in a speech or piece of writing | 83 | |
| 10387399327 | rhetorical question | A question asked merely for effect with no answer expected. (i.e, Are you stupid?) | 84 | |
| 10387399328 | Soliloquy | A long speech expressing the thoughts of a character alone on stage | 85 | |
| 10387399329 | Voice | A writers distinctive use of language | 86 | |
| 10387399330 | Zeugma | a figure of speech in which a word applies to two others in different senses. (i.e., John and his license expired last week.) (i.e., with weeping eyes and hearts.) | 87 | |
| 10387399331 | Argument | A statement put forth and supported by evidence | 88 | |
| 10387399332 | Elipsis | The omission from speech or writing of a word or words that are superfluous or able to be understood from contextual clues, implicated by a set of dots. | 89 | |
| 10387399333 | Epic | A long narrative poem telling of a hero's deeds | 90 | |
| 10387399334 | Hyperbole | exaggerated statements or claims not meant to be taken literally | 91 | |
| 10387399335 | Rhetorical Triangle | Triangle containing the three persuasive strategies (ethos, logos, pathos) to form an argument | 92 |
