Terms : Hide Images
| 4913631673 | Rhetoric | the art of effective, persuasive speaking or writing | 0 | |
| 4913660246 | Text | This includes fiction, nonfiction, poetry, political cartoons. | 1 | |
| 4913634969 | Occasion | the time and place a speech is given or a text is created. | 2 | |
| 4913637527 | Context | the circumstances, atmosphere, attitudes, and events surrounding a text. | 3 | |
| 4913638945 | Purpose | the goal the speaker wants to achieve | 4 | |
| 4913640404 | Speaker | the person or group who creates a text | 5 | |
| 4913641849 | Persona | Greek for "mask." The face or character that a speaker shows to his or her audience. | 6 | |
| 4913645006 | Audience | the listener, viewer, or reader of a text. | 7 | |
| 4913646825 | Subject | the topic of a text. | 8 | |
| 4913648143 | Tone | a speaker's attitude toward the subject conveyed by the speaker's stylistic and rhetorical choices. | 9 | |
| 4923514931 | Logos | Greek for "embodied thought." appeal to logos, or reason, by offering clear rational ideas and using specific details, examples. | 10 | |
| 4923517411 | Ethos | Greek for "character." they are credible and trustworthy to speak on a given topic. who you are and what you say. | 11 | |
| 4923517412 | Pathos | Greek for "suffering" or "experience." to emotionally motivate their audience. might play on the audience's values, desires, and hopes. | 12 | |
| 4954451464 | Diction | the speaker's choice of words. Analysis of diction looks at these choices and what they add to the speaker's message. | 13 | |
| 5017942744 | Counterargument | an opposing argument to the one a writer is putting forward. Rather than ignoring a counterargument, a strong writer will usually address it through the process of concession and refutation. | 14 | |
| 5017948560 | 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 of the opposing argument. | 15 | |
| 5017951356 | 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. | 16 | |
| 5017954642 | Propaganda | the spread of ideas and information to further a cause. In its negative sense, propaganda is the use of rumors, lies, disinformation, and scare tactics in order to damage or promote a cause. | 17 | |
| 5017954643 | Polemic | Greek for "hostile." An aggressive argument that tries to establish the superiority of one opinion over all others. Polemics generally do not concede that opposing opinions have any merit. | 18 | |
| 5312364065 | Alliteration | Repetition of the same sound beginning several words or syllables in sequence. { Let us go forth to lead the land we love} | 19 | |
| 5312364066 | Allusion | Brief reference to a person,event,or place (real or fictitious) or to a work of art. {Let both sides unite to heed in all corners of the earth the command of Isaiah} | 20 | |
| 5312365164 | Anaphora | Repetition of a word or phrase at the beginning of successive phrases, clauses, or lines. {not as a call to to bear arms,though arms we need-not as a call to battle, though embattled we are} | 21 | |
| 5312365165 | Antimetabole | Repetition or words in reverse order. {Ask not what your country can do for you - ask what you can do for your country} | 22 | |
| 5312366508 | Antithesis | Opposition, or contrast, of ideas or words in a parallel construction. {We shall ... support any friend,oppose any foe..} | 23 | |
| 5312366509 | Archaic diction | Old-fashioned or outdated choice of words. {beliefs for which our forebears fought} | 24 | |
| 5312367640 | Asyndeton | Omission of conjunctions between coordinate phrases, clauses, or words. {We shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe to assure the survival and the success of liberty.} | 25 | |
| 5312367641 | Cumulative Sentence | Sentence that completes the main idea at the beginning of the sentence and then builds and adds on. {But neither can two great and powerful groups of nations take comfort from our present course - both sides overburdened by the cost of modern weapons, both rightly alarmed by the steady spread of the deadly atom....} | 26 | |
| 5312369141 | Hortative Sentence | Sentence that exhorts, urges, entreats, implores, or calls to action {Let both sides explore what problems unite us instead of belaboring those problems which divide us. | 27 | |
| 5312371627 | Imperative Sentence | Sentence used to command or enjoin. {My fellow citizens of the world: ask not what America will do for you, but what together we can do for the freedom of man.} | 28 | |
| 5312371628 | Inversion | Inverted order of words in a sentence(variation of the subject-verb-object order). {United there is little we cannot do in a host of cooperative ventures. Divided there is little we can do...} | 29 | |
| 5312371629 | Juxtaposition | Placement of two things closely together to emphasize similarities or differences. {We are the heirs of that first revolution. Let the word go forth...that the torch has been passed to a new generation of Americans - born in this century...} | 30 | |
| 5312373320 | Metaphor | Figure of speech that compares two things without using like or as. {And if a beachhead of cooperation may push back the jungle of suspicion...} | 31 | |
| 5312373321 | Oxymoron | Paradoxical juxtaposition of words that seem to contradict one another. {But this peaceful revolution...} | 32 | |
| 5312374205 | Parallelism | Similarity of structure in a pair or series of related words, phrases,or clauses. {Let both sides explore... Let both sides, for the first time, formulative serious and precise proposals... Let both sides seek to invoke...Let both sides unite to heed...} | 33 | |
| 5312374206 | Periodic Sentence | Sentence whose main clause is withheld until the end. {To that world assembly of sovereign states, the United Nations, our last best hope in an age where the instruments of war have far outpaced the instruments of peace, we renew our pledge of support.} | 34 | |
| 5312374207 | Personification | Attribution of a lifelike quality to an inanimate object or an idea. {with history the final judge of our deeds} | 35 | |
| 5312375780 | Rhetorical Question | Figure of speech in the form of a question posed for rhetorical effect rather than for the purpose of getting an answer. {Will you join in that historic effort?} | 36 | |
| 5312375781 | Synedoche | Figure of speech that uses a part to represent the whole. {In your hands, my fellow citizens, more than mine, will rest the final success or failure of our course.} | 37 | |
| 5312375782 | Zeugma | Use of two different words in a grammatically similar way that produces different, often incongruous, meanings. { Now, the trumpet summons us again - not as a call to bear arms, though arms we need - not as a call to battle, though embattled we are - but a call to bear the burden...} | 38 | |
| 5312377861 | Imagery | A description of how something looks, feels, tastes, smells, or sounds, Imagery may use literal or figurative language to appeal to the senses. {Your eyes glaze as you travel life's highway past all the crushed animals and the Big Gulp cups.} | 39 | |
| 5312379002 | Symbol/Symbolism | The use of specific objects, actions or images to represent abstract ideas. A symbol must be something tangible or visible while the idea it symbolizes by be something abstract or universal. | 40 | |
| 5312379003 | Motif | A recurring important idea or image. | 41 | |
| 5312379004 | Irony | A figure of speech that occurs when a speaker or character says one thing, but means something else, or when what is said is the opposite of what is expected, creating a noticeable incongruity. {Nature has become simply a visual form of entertainment, and it had better look snappy.} | 42 | |
| 5312383533 | Dramatic Irony | The contrast between what a character says and does and a deeper significance grasped by the audience or other characters. The audience has more information than the characters do. | 43 | |
| 5312385530 | Figurative language (figure of speech) | Nonliteral language, sometimes referred to as tropes or metaphorical language, often evoking strong imagery, figures of speech often compare one thing to another either explicitly (simile) or implicitly (metaphor). Other forms of figurative language include personification, paradox, hyperbole, understatement, metonymy, synecdoche, and irony. | 44 | |
| 5312385531 | Paradox | A statement or situation that is seemingly contradictory on the surface, but delivers an ironic truth. {There is that scattereth, yet increaseth; To live outside the law you must be honest.} | 45 | |
| 5312385532 | Hyperbole (overstatement) | Deliberate exaggeration used for emphasis or to produce a comic or ironic effect; an overstatement to make a point. {My first and last name together generally served the same purpose as a high brick wall.} | 46 | |
| 5312386812 | Understatement | A figure of speech in which something is presented as less important, dire, urgent, good, and so on, than it actually is, often for satiric or comical effect. Also called litotes, it is the opposite of hyperbole. {You might want to write clearly and cogently in your English class; The night in prison was novel and interesting enough.} | 47 | |
| 5312386813 | Metonymy | Figure of speech in which something is represented by another thing that is related to it or emblematic of it. {The pen is mightier than the sword.} | 48 | |
| 5312386814 | Syntax | The arrangement of words into phrases, clauses, and sentences. This includes word order (subject-verb-object, for instance or an inverted structure); the length and structure of sentences (simple compound, complex, or compound-complex); and such schemes as parallelism, juxtaposition, antithesis, and antimetabole. | 49 |
