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| 8595124469 | SOAPSTONE | S-speaker O-occation A-audience P-purpose S-subject Tone-the tone | 0 | |
| 8595128142 | Rhetorical Triangle | Vertex - Speaker Base Angle 1 - Message Base Angle 2 - Audience Overall Triangle - Purpose |  | 1 |
| 8595484262 | Ethos | the appeal to credibility | 2 | |
| 8595484263 | Logos | the appeal to logic | 3 | |
| 8595484264 | Pathos | the appeal to emotion | 4 | |
| 8603424093 | Four modes of discourse | 1. narration - a story 2. description - impression of something 3. exposition - giving information 4. argumentation - to persuade | 5 | |
| 8644482972 | Narration | telling a story | 6 | |
| 8644485240 | Description | presents factual information about a topic | 7 | |
| 8644487481 | Exposition | set out an idea in a clear and objective manner; telling about something without bias | 8 | |
| 8644492255 | Argumentation | attempt to persuade a reader of the writer's viewpoint | 9 | |
| 8603426130 | Four Types of Sentences | 1. imperative - command 2. declarative - giving information 3. interrogative - presenting a question 4. exclamatory - excited state | 10 | |
| 8603430792 | The Five Canons of Rhetoric | 1. invention - layout ideas 2. arrangement - organize 3. style - diction, syntax, tone, etc. 4. memory - make writing stand out (pattens, alliteration, etc.) 5. delivery - fluency of syntax | 11 | |
| 8644467802 | Invention | selection of patterns best for the writer's purpose -analogy -cause and effect -classification or division -comparison and contrast -definition -example or illustration -process analysis | 12 | |
| 8644467803 | Arrangement | organization of writing or speech -cause and effect -chronological -comparison and contrast -flash back or flash foward -general to specific (or specific to general) -least to most important (or most to least) -spatial | 13 | |
| 8644467804 | Style | artful expression of ideas -detail -diction -figures of speech -imagery -syntax -tone | 14 | |
| 8644470227 | Memory | devices that make speech or writing memorable -acronym -pattern of three -repetition | 15 | |
| 8644470228 | Delivery | conscious use of gesture, expression, and pacing | 16 | |
| 8603463767 | Voice | -persona the reader hears in the writing -overall sense we hear in style | 17 | |
| 8603463768 | Syntax | deliberate sentence structure the author chooses to make his or her desired point --sentence length --functional --grammatical --rhetorical | 18 | |
| 8644989984 | Parallel Structure (Parallelism) | -refers to a grammatical or structural similarity between sentences or parts of a sentence -involves an arrangements of words, phrases, sentences, and paragraphs so that elements of equal importance are equally developed and similarly phrased ex). He was walking, running, and jumping for joy. | 19 | |
| 8645008621 | Antithesis | contrasting words, phrases, or clauses that are placed next to each other ex). It was the worst of times, it was the best of times | 20 | |
| 8645024004 | Rhetorical Question | -a question which expects no answer -used to draw attention to a point and is generally stronger than a direct statement ex). If Mr. Ferchoff is always fair, as you have said, why did he refuse to listen to Mrs. Baldwin's arguments? | 21 | |
| 8603466243 | Diction | word choice by the writer in order to achieve their purpose and give the reader a certain understanding of the text | 22 | |
| 8603466244 | Tone | the writers attitude toward a subject ex). nostalgic, argumentative, direct | 23 | |
| 8603466245 | Imagery | SENSORY words or phrases that paint a picture in the audience's mind | 24 | |
| 8603466246 | Claim | -thesis -proposition of which you want to convey to your audience -something is true or not true -something does or does not have worth -something should or should not be done | 25 | |
| 8603466247 | Concession | acknowledging a valid opinion of the opposition | 26 | |
| 8603467708 | Rebuttal | refuting the points of the opposition | 27 | |
| 8603467709 | Qualifier | -limits the scope of your argument (avoiding extreme language- such as never and always) -a term that makes a statement less general or extreme -making your opinion easier to support | 28 | |
| 8606141230 | Take a position on the relationship... | state a claim develop and support do not merely have a thesis that is an observation make sure the paper matches the thesis -policy (should) -value | 29 | |
| 8606170974 | If you clarify your thesis... | the reader will give a better grade, as long as it is backed up | 30 | |
| 8606175318 | Generalizations are... | NO GOOD show distinct facts that are true do not make stuff up | 31 | |
| 8606228258 | Examples | it is better to make less if they are more developed, compared to more that is listed and do not connect the dots COMPELING EVIDENCE | 32 | |
| 8606240715 | Conclusion | FINISH IT plan to finish need to conclude in an orderly fashion to wrap up the essay with a nice bow | 33 | |
| 8606585560 | The purpose of rhetoric is to evoke a response from the reader | TRUE this is the heart of rhetoric -- make them do something | 34 | |
| 8606610895 | The following is an acceptable thesis: "The [writer] uses rhetorical strategies to achieve he purpose" | FALSE -name the strategies -never say "the writer uses rhetorical strategies" -be clear of the purpose | 35 | |
| 8606624717 | In rhetorical analysis, one should identify the most unique and interesting features of a piece of writing | FALSE -don't ignore the obvious -look at dominate features -even the most obvious strategies relate to the purpose, so talk about it | 36 | |
| 8606644060 | It's acceptable to address the SOAPSTONE elements solely in the introduction, as long as you specifically address them all. | FALSE -these are key to the foundation of the piece, so must be used throughout -purpose is the most important and must be related in each paragraph | 37 | |
| 8606663789 | It is preferable to identify fewer rhetorical strategies and tie them all back to the writer's purpose than addressing twice as many features | TRUE connect the dots | 38 | |
| 8606672651 | The following terms should not be introduced by writing, "the writer uses___" : diction, syntax, tone, voice, pathos, ethos, or logos | TRUE | 39 | |
| 8606681027 | It is acceptable to write, "The writer appeals to pathos" as long as one backs it up with evidence of emotion | FALSE -never use this form of introduction of a strategy -better to say : "the writer appeals to the passion, nostalgia, etc. to evoke ____" | 40 | |
| 8606693666 | One must always explain the effect of a writer's rhetorical choice he/she is choosing to write about | TRUE | 41 | |
| 8606697204 | If the rhetor chooses to leave something out, then one should probably not write about it either | FALSE -the writer chose to leave it out for a reason, so why did he/she do it? -analyze what the leave out does -connects to the purpose | 42 | |
| 8606706636 | One should look for pattern when reading for analysis | TRUE | 43 | |
| 8606711656 | It is a good idea to read just enough of the passage to find enough rhetorical strategies to analyze | FALSE read the entire passage | 44 | |
| 8606722231 | One should avoid: stating that a passage is difficult to understand, explaining that a writer used a strategy to gain the attention of or engage the reader, or writing about the strategies "that stood out the most" | TRUE | 45 | |
| 8606727094 | If a student uses more linking verbs than active verbs overall, he/she probably will not earn a six for the essay | FALSE -a student could use only linking verbs and still get a good grade -the grade depends on a holistic view, decision on the rest of language as well | 46 | |
| 8606737680 | The word "should" typically indicates an argument is being made | TRUE -there are some exceptions, but the word indicates an opinion is being made and defended | 47 | |
| 8606741709 | One should explicitly state one's conclusion in an argument essay | TRUE | 48 | |
| 8606750743 | One should use adverbs like "always" and "never" to nearly state one's opinion | FALSE -never use extreme language like this | 49 | |
| 8606750745 | One should avoid clarifying the question at the heart of the issue in order to frame the argument in accordance with one's own opinion | FALSE show the connection | 50 | |
| 8606764136 | It is necessary to consider opposing arguments in persuasive argument | TRUE | 51 | |
| 8606771999 | It is appropriate to find common ground and identify shared values in persuasive writing | TRUE | 52 | |
| 8606778172 | Making concession weakens ones argument by creating a sense of vulnerability | FALSE they are good | 53 | |
| 8606782571 | Personal observations and experience are fine in a class debate, but they should be avoided in an AP Exam essay | FALSE they are welcomed as long as they are developed and effectively prove your thesis | 54 | |
| 8606791169 | You should not insult the reader's intelligence by explaining how every piece of evidence connects to your main claim | False -you need to explain everything -it is not an insult | 55 | |
| 8606800298 | As long as you convey your passion, it is acceptable to speak in broad, unsupported generalization | FALSE -must be explicitly clear -specific evidence in lesser quantities is better than a list of babble | 56 | |
| 8606812095 | As long as you can identify and define the more intelligent answer of the AP exam argument question, you'll score at least a six | FALSE -it is your own opinion -defend your position -it cannot be wrong unless you are unsuccessful in defending | 57 | |
| 8606822011 | Conjunctive adverbs, such as furthermore, therefore, consequently, in contrast, etc., make a writer sound conceited and should be avoided | FALSE -they are essential -they show you are extending a thought -they show the ideas are connecting | 58 | |
| 8606831534 | Argument writing woks best when you treat it like a math test and show your thinking step by step | TRUE connect the dots | 59 | |
| 8645042497 | Exordium | the introduction of a speech, where one announces the subject and purpose of the discourse, and where ones usually employs the persuasive appeal of ethos in order to establish credibility with the audience | 60 | |
| 8645048474 | Narratio | -following the exordium -the speaker provides a narrative account of what has happened and generally explains the nature of the case -followed by propositio (summary of the issues or a statement of the charge) | 61 | |
| 8645061828 | Partitio/Divisio | -following narration -the speaker outlines what will follow, in accordance with what's been stated as the status or point at issue in the case -blended with propositio and assists memory | 62 | |
| 8645073479 | Confirmatio | -following partition -main body of the speech where one offers logical arguments as proof -appeal to logos is emphasized | 63 | |
| 8645081784 | Refutatio | -following confirmatio -devoted to answering the counterarguments of one's opponent | 64 | |
| 8645086231 | Peroratio | -following refutatio -conventionally employed appeals through pathos, and often included a summing up | 65 |
