PPT Answers and Terms
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| 7318703090 | anaphora | Repetition of a word, phrase or clause at the beginning of two or more sentences in a row. | 0 | |
| 7318703092 | antithesis | A balancing of two opposite or contrasting words, phrases or clauses. Example: ". . .one seeing more where the other sees less, one seeing black where the other sees white, one seeing big where the other sees small. . . ." | 1 | |
| 7318703093 | anecdote | A brief recounting of a relevant episode. | 2 | |
| 7318703094 | Connotation | An implication or association attached to a word or phrase. | 3 | |
| 7318703095 | diction | Means "word choice." Refers to word choice as a reflection of style. | 4 | |
| 7318703097 | ethos | A person's character or disposition. Credibility. | 5 | |
| 7318703098 | Imperative Sentence | Gives a Command | 6 | |
| 7318703099 | Inversion/ Inverted order of a sentence | Variation of the normal word order (subject, verb, complement) which puts the verb or complement at the head of the sentence. | 7 | |
| 7318703100 | Juxtaposition | A poetic and rhetorical device in which normally unassociated ideas, words, or phrases are placed next to one another, often creating an effect of surprise and wit. Ex. "The apparition of these faces in the crowd:/ Petals on a wet, black bough." ("In a Station of the Metro" by Ezra Pound). | 8 | |
| 7318703101 | Loose or Cumulative Sentence | Makes complete sense if brought to a close before the actual ending. Ex. "We reached Edmonton that morning after a turbulent flight and some exciting experiences, tired but exhilarated, full of stories to tell our friends and neighbors." The sentence could end before the modifying phrases without losing its coherence. | 9 | |
| 7318703102 | mood | The atmosphere in the text created by the author's tone towards the subject. | 10 | |
| 7318703103 | Narrative | A piece of writing that tells a story | 11 | |
| 7318703104 | Natural Order of a Sentence | Involves constructing a sentence so the subject comes before the predicate. Ex, "Oranges grow in California." | 12 | |
| 7318703105 | oxymoron | A figure of speech in which two contradictory words are placed side-by-side for effect. Examples: "civil war," "alone together," "deafening silence," or "jumbo shrimp." | 13 | |
| 7318703106 | paradox | A statement that reveals a kind of truth, although it seems at first to be self-contradictory and untrue. In John Donne's sonnet, "Death, Be Not Proud," he declares: One short sleep past, we wake eternally And death shall be no more; Death, thou shalt die. | 14 | |
| 7318703107 | Parallelism/parallel structure | Sentence construction which places in close proximity two or more equal grammatical constructions. | 15 | |
| 7318703108 | pathos | A quality in an experience, narrative, literary work, etc., which arouses profound feelings of compassion or sorrow. Pathetic expression or emotion; transient or emotional. | 16 | |
| 7318703109 | Periodic sentence | Sentence that places the main idea or central complete thought at the end of the sentence, after all introductory elements. | 17 | |
| 7318703111 | Prose | Any kind of writing which is not verse - usually divided into fiction and non-fiction | 18 | |
| 7318703112 | refutation | The art of mustering relevant opposing arguments. The author "refutes" through evidence logical opposition. | 19 | |
| 7318703113 | Repetition | A device in which words, sounds, and ideas are used more than once to enhance rhythm and to create emphasis. Ex. "...government of the people, by the people, for the people, shall not perish from the Earth." ("Address at Gettysburg" by Abraham Lincoln) | 20 | |
| 7318703114 | rhetoric | The art of effective communication, especially persuasive discourse. | 21 | |
| 7318703115 | Rhetorical Modes | The variety, conventions, and purposes of the major kinds of writing (exposition explains and analyzes information; argumentation proves validity of an idea; description re-creates, invents, or presents a person, place, event or action; narration tells a story recount an event) | 22 | |
| 7318703116 | Rhetorical Question | A question that requires no answer. It is 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?" | 23 | |
| 7318703117 | style | The choices in diction, tone, syntax that a writer makes. | 24 | |
| 7318703118 | Syntax | The way in which sentences are structured Sentences can be structured in different ways to achieve different effects | 25 | |
| 7318703119 | tone | Author's attitude toward subject matter as revealed through style, syntax, diction, figurative language, and organization. | 26 | |
| 7318703121 | Persona | Greek for 'mask'. The face or character that a speaker shows to his or her audience. | 27 | |
| 7318703122 | Concession | An acknowledgment that the opposing argument may be true or reasonable. | 28 | |
| 7318703123 | Occasion | The time and place a speech is given or a piece is written. | 29 | |
| 7318703124 | Polemic | Greek for 'hostile'. An aggressive argument that tries to establish the superiority of one opinion over all others. | 30 | |
| 7318703125 | Purpose | Goal a the speaker wants to achieve. | 31 | |
| 7318703126 | Subject | The topic of the text. | 32 | |
| 7318703128 | Alliteration | Repetition of the same sound beginning several words or syllables in sequence. | 33 | |
| 7318703129 | Archaic Diction | Old-fashioned or outdated choice words. | 34 | |
| 7318703131 | Logos | Speakers appeals to reason by offering clear, rational ideas and using specific details, examples, facts statistics, or expert testimony to back them up. | 35 | |
| 7318703132 | Audience | Listener or viewer of text. Most texts have multiple audiences. | 36 | |
| 7318703135 | Allusion | Brief reference to a person, event, place, or work of art. | 37 | |
| 10649930172 | Concession | An acknowledgement that an opposing argument may be true or reasonable. | 38 | |
| 10649948019 | Anaphora | Repetition of a word or phrase at the beginning of successive phrases, clauses, or lines. ...not as a call to bear arms, though arms we need-not as a call to battle, though embattled we are... | 39 |
