Terms : Hide Images
| 5751191123 | alliteration | words used in quick succession and begin with letters belonging to the same sound group; a repetition of similar sounds/letters in the sentence. (Wicked witch of the west went her own way.) | 0 | |
| 5751191124 | allusion | a passing reference to a commonly-known historical, cultural, religious, literary, or mythical person, place, event, or work of art, whereby the reader must make the connection within the current text. | 1 | |
| 5751191125 | anaphora | Repetition of the same word or group of words at the beginning of successive clauses, sentences, or lines. Example: "Then the bull will turn like a cat and get somebody who has been acting very brave about ten feet behind him. Then he will toss a man over the fence. Then he picks out one man and follows him..." | 2 | |
| 5751191127 | antecedent | word, phrase, or clause that is replaced by a pronoun | 3 | |
| 5751191128 | antithesis | Juxtaposition of contrasting words or ideas (often, although not always, in parallel structure). Example: We want healthy food, not garbage. | 4 | |
| 5751191129 | anastrophe | Departure from normal word order for the sake of emphasis. Example: Twinkling the stars led us north. (versus: The twinkling stars led us north.) | 5 | |
| 5751191130 | appositive | a renaming of a noun or noun phrase immediately after first stating the noun | 6 | |
| 5751191131 | asyndeton | The omission of conjunctions between clauses, often resulting in a hurried rhythm or vehement effect. Example: We arrived, it rained, no one was happy. | 7 | |
| 5751191132 | connotation | associations people make with words that go beyond the literal or dictionary definition | 8 | |
| 5751191133 | context | The parts before or after a word or statement that influence its meaning | 9 | |
| 5751191134 | cumulative sentence | a sentence in which the main independent clause is elaborated by the successive addition of modifying clauses or phrases | 10 | |
| 5751191135 | denotation | Dictionary definition of a word; literal meaning | 11 | |
| 5751191136 | diction | A writer's or speaker's choice of words | 12 | |
| 5751191137 | ellipsis | in a sentence, the omission of a word or words replaced by three periods ... | 13 | |
| 5751191138 | ethos | One of the fundamental strategies of argumentation identified by Aristotle. Ethos is basically an appeal to credibility. The writer is seeking to convince you that he or she has the background, history, skills, and/or expertise to speak on the issue. | 14 | |
| 5751191139 | foreshadowing | Foreshadowing is used to suggest an upcoming outcome to the story; builds suspense/anxiety | 15 | |
| 5751191140 | hyperbole | A figure of speech using deliberate exaggeration or overstatement. (The literal Greek meaning is "overshoot.") Hyperboles often have a comic effect; however, a serious effect is also possible. Often, hyperbole produces irony. | 16 | |
| 5751191141 | imagery | use of words and phrases to create "mental images" for the reader; helps the reader visualize more realistically the author's writings through the usage of metaphors, allusions, descriptive words and similes | 17 | |
| 5751191142 | imperative sentences | Commands or tells or orders someone to do something, and is usually followed by a period: Wait for the bus. | 18 | |
| 5751191143 | inversion | A sentence in which the verb precedes the subject. | 19 | |
| 5751191144 | verbal irony | Sarcasm; what is said is the opposite of what is meant | 20 | |
| 5751191145 | juxtaposition | placing an idea next to its opposite to emphasize contrast and comparison | 21 | |
| 5751191146 | Litotes | an understatement in which an affirmative is expressed by negating its opposite. Ex: "Not bad" looking | 22 | |
| 5751191147 | logos | An appeal to reason. one of the fundamental strategies of argumentation identified by Aristotle. It occurs when a writer tries to convince you of the logic of his argument. writers may use inductive argumentation or deductive argumentation, but they clearly have examples and generally rational tome to their language. The problem with is that is can appear reasonable until you dissect the argument and then find fallacies that defeat the viability of the argument on the reader's eyes. Of course, that presupposes that the readers is able to identify the fallacies. | 23 | |
| 5751191148 | metaphor | A figurative comparison of two unlike things without using the word like or as | 24 | |
| 5751191149 | mood | Feeling or atmosphere that a writer creates for the reader; using specific diction, description, setting, and characterization to create the atmosphere | 25 | |
| 5751191150 | motif | A recurring theme, subject or idea | 26 | |
| 5751191151 | narrative | a fiction, nonfiction, poetic, or dramatic story, actual or fictional, expressed orally or in text. | 27 | |
| 5751191156 | paradox | A statement or proposition that seems self-contradictory or absurd but in reality expresses a possible truth. | 28 | |
| 5751191157 | parallel structure | repetition of the same pattern of words or phrases within a sentence or passage to show that two or more ideas have the same level of importance. | 29 | |
| 5751191160 | pathos | An appeal to emotion. This is one of the fundamental strategies of argumentation identified by Aristotle. Typically, pathos arguments may use loaded words to make you feel guilty, lonely, worried, insecure, or confused. | 30 | |
| 5751191161 | periodic sentence | The opposite of loose sentence, a sentence that presents its central meaning in a main clause at the end. This independent clause is preceded by a phrase or clause that cannot stand alone. The effect of a periodic sentence is to add emphasis and structural variety. It is also a much stronger sentence than the loose sentence. (Example: After a long, bumpy flight and multiple delays, I arrived at the San Diego airport.) | 31 | |
| 5751191163 | personification | author presents or describes concepts, animals, or inanimate objects by endowing them with human attributes or emotions. | 32 | |
| 5751191164 | point of view | Perspective from which a story is told; omniscient point of view= the person telling the story or narrator knows everything that's going on in the story; first- person point of view the narrator is a character in the story; limited third-person point of view the narrator is outside the story- like an omniscient narrator- but tells the story from the vantage point of one character." | 33 | |
| 5751191168 | purpose | One's intention or objective in a speech or piece of writing. | 34 | |
| 5751191170 | repetition | The duplication, either exact or approximate, of any element of language, such as a sound, word, phrase, clause, sentence, or grammatical pattern. When repetition is poorly done, it bores, but when it's well done, it links and emphasizes ideas while allowing the reader the comfort of recognizing something familiar. | 35 | |
| 5751191171 | rhetoric | From the Greek for "orator," this term describes the principles governing the art of writing effectively, eloquently, and persuasively. | 36 | |
| 5751191172 | rhetorical appeals | Rhetorical techniques used to persuade an audience by emphasizing what they find most important or compelling. The three major appeals are to ethos (character), logos (reason), and pathos (emotion). | 37 | |
| 5751191173 | rhetorical question | A question whose answer is assumed; a rhetorical question is designed to force the reader to respond in a predetermined manner and to propel an argument emotionally. | 38 | |
| 5751191174 | rhetorical triangle | A diagram that represents a rhetorical situation as the relationship among the speaker, the subject, and the audience ex:Aristotelian triangle |  | 39 |
| 5751191175 | satire | A work that reveals a critical attitude toward some element of human behavior by portraying it in an extreme way. It doesn't simply abuse (as in invective) or get personal (as in sarcasm). It targets groups or large concepts rather than individuals. | 40 | |
| 5751191176 | simile | A comparison of two things using like or as | 41 | |
| 5751191177 | soliloquy | A dramatic or literary form of discourse in which a character talks to himself or herself or reveals his or her thoughts without addressing a listener. | 42 | |
| 5751191178 | symbolism | An ordinary object with an extraordinary significance | 43 | |
| 5751191179 | synecdoche | A figure of speech in which a part is used for the whole (as hand for sailor), the whole for a part (as the law for police officer), the specific for the general (as cutthroat for assassin), the general for the specific (as thief for pickpocket), or the material for the thing made from it (as steel for sword). | 44 | |
| 5751191180 | syllogism | A form of deductive reasoning consisting of a major premise, a minor premise, and a conclusion. | 45 | |
| 5751191181 | syntax | Language rules that govern how words can be combined to form meaningful phrases and sentences | 46 | |
| 5751191182 | thesis | Focus statement of an essay; premise statement upon which the point of view or discussion in the essay is based. | 47 | |
| 5751191183 | tone | A writer's attitude toward his or her subject matter revealed through diction, figurative language, and organization on the sentence and global levels. | 48 | |
| 5751191184 | transition | A word or phrase that links one idea to the next and carries the reader from sentence to sentence, paragraph to paragraph | 49 | |
| 5751191185 | voice | In grammar, a term for the relationship between a verb and a noun (active or passive voice). In rhetoric, a distinctive quality in the style and tone of writing. | 50 | |
| 5751198038 | Interrogative | Asks questions; followed by a question mark: Are we there yet? | 51 | |
| 5751200553 | Declarative | Makes or affirms a statement or fact, and is followed by a period: Edgar Allan Poe died in Baltimore. | 52 | |
| 5751202778 | Exclamatory | Expresses strong feelings or emphasizes a point; is followed by an exclamation point; these are often interjections: I said no! | 53 | |
| 5751235224 | Anecdote | short and interesting story or an amusing event often proposed to support or demonstrate some point and make readers and listeners laugh; Anecdotes can include an extensive range of tales and stories | 54 | |
| 5751296877 | Style | The consideration of style has two purposes. (1) An evaluation the sum of the choices an author makes in blending diction, syntax, figurative language, and other literary devices. Some authors' styles are so idiosyncratic that we can quickly recognize works by the same author (or a writer emulating that author's style). Compare, for example, Jonathan Swift to George Orwell or William Faulkner to Ernest Hemingway. We can analyze and describe an author's personal style and make judgments on how appropriate it is to the author's purpose. Styles can be called flowery explicit, succinct, rambling, bombastic, commonplace, incisive, or laconic, to name only a few examples. (2) Classification of authors to a group and comparison of an author to similar authors. By means of such classification and comparison, on can see how an author's style reflects and helps to define a historical period, such as Renaissance or the Victorian period, or a literary movement, such as the romantic, transcendental, or realist movement. | 55 | |
| 5751302575 | Diction | Diction: Related to style, diction refers to the writer's word choices, especially with regard to their correctness, clearness, or effectiveness. For the AP exam, you should be able to describe an author's diction (for example, formal or informal, ornate or plain) and understand the ways in which diction can complement the author's purpose. Diction, combined with syntax, figurative language, literary devices, etc., creates an author's style. | 56 | |
| 5751309068 | Genre | Type of writing (i.e., personal narrative, descriptive, persuasive, research, fiction, etc.) | 57 | |
| 5751311025 | Polysyndeton | Employing many conjunctions between clauses, often slowing the tempo or rhythm. Example: We arrived and we hit the ball with great power and we scored runs and the crowd screamed and we felt like we were the best. | 58 | |
| 5751312101 | Apposition | Addition of an adjacent, coordinate, explanatory or descriptive element. Example: He lived on the diamond, his home. | 59 | |
| 5751313895 | Perenthesis | Insertion of a verbal unit that interrupts normal syntactical flow. Example: The teacher, wild-eyed and crazed, shouted at the interloper. | 60 | |
| 5751322703 | Isocolon | A series of similarly structured elements having the same length. A kind of parallelism. Example: I read, I loved, and I laughed. | 61 | |
| 5751623914 | Assonance | Repetition of similar vowel sounds, preceded and followed by different consonants, in the stressed syllables of adjacent words. Example: E.T. stole foam. | 62 | |
| 5751628594 | Transitive Verbs | express an action in which a subject performs an action on an object. | 63 | |
| 5751631586 | Intransitive Verbs | convey a state of being or condition of the grammatical subject. Intransitive verbs do not have direct objects (transitive verbs do have direct objects). Instead, intransitive verbs may be followed by adjectives, adverbs, or nouns (including prepositional phrases functioning as adjectival, adverbial, or noun phrases) that further define the condition or state of being described by the verb. She will rise to the occasion. She is resting peacefully. | 64 | |
| 5751633284 | Anadiplosis | The repetition of the last word (or phrase) from the previous line, clause, or sentence at the beginning of the next. Example: I have not encountered in years such a tasty jam. The jam could delight even the biggest detractor. | 65 | |
| 5751636414 | Epistrophe | Ending a series of lines, phrases, clauses, or sentences with the same word or words. Example: Today it rained, like yesterday it rained, and probably tomorrow it will rain. | 66 | |
| 5751639378 | Parallelism | Similarity of structure in a pair or series of related words, phrases, or clauses. Example: We had never met such a kind man, such a caring father, and such a gentle human. | 67 | |
| 5751640850 | Theme | The central idea or message of a work, the insight it offers into life. Usually, theme is unstated in fictional works, but in nonfiction, the theme may be directly stated, especially in expository or argumentative writing. | 68 | |
| 5751640851 | Irony | The contrast between what is stated explicitly and what is really meant. The difference between what appears to be and what actually is true. In general, there are three major types of irony used in language: (1) In verbal irony, the words literally state the opposite of the writer's (or speaker's) true meaning. (2) In situational irony, events turn out the opposite of what was expected. What the characters and readers think ought to happen. (3) In dramatic irony, 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. Irony is used for many reasons, but frequently, it's used to create poignancy or humor. | 69 | |
| 5751642830 | Parenthesis | Insertion of a verbal unit that interrupts normal syntactical flow. Example: The teacher, wild-eyed and crazed, shouted at the interloper. | 70 | |
| 5751645751 | Clause | are groups of words that contain a subject and verb. | 71 | |
| 5751645752 | Phrase | are groups of words that do not contain a subject, verb, or both. Most often, they are modifiers. Example: At the airport; running free; slipping on the ice. | 72 | |
| 5751652775 | Context and Culture | What triggers the writing and the environment in which you are writing Considerations (per Purdue / Owl): Time period or timing Location Current events Cultural significance | 73 | |
| 5751678294 | Independent Clause | contains a subject and a verb and completes a thought: with terminal punctuation, it stands on its own. Example: We waited. Subj. Verb | 74 | |
| 5751679446 | Dependent Clause | contains a subject and a verb but does not complete a thought. A dependent clause must be attached to an independent clause to become complete. Without an independent clause, it becomes a sentence fragment. Example: While we waited. Subj. Verb | 75 | |
| 5751686825 | Simple Sentence | contain one independent clause and have one subject and verb, either of which can be compound. My cat is fierce. Subj. Verb | 76 | |
| 5751690440 | Compound Sentence | contain two or more independent clauses and a method of coordination. My cat is fierce, and it hunts lizards. Subj. Verb Subj. Verb | 77 | |
| 5751692607 | Complex Sentence | contain one independent clause and at least one dependent clause. Dependent clauses are usually attached to the independent clause by a subordinate conjunction or relative pronoun. Although we run regularly, we are still in bad shape. | 78 | |
| 5751695165 | Compound Complex Sentences | contain at least two independent clauses and one dependent clause. While we waited for the plane, we tried to read, but the TVs were too loud. | 79 | |
| 5751738579 | Ellipsis | Omission of a word or short phrase easily understood in context. Example: He hugged his mom, and she him. | 80 | |
| 5751766844 | Loose Sentence | A type of sentence in which the main idea (independent clause) comes first, followed by dependent grammatical units such as phrases and clauses. If a period were placed at the end of the independent clauses, the clause would be a complete sentence. A work containing many loose sentences often seems informal, relaxed, and conversational | 81 |
