AP lit
Terms : Hide Images
| 5352958115 | Specific language | Words referring to objects or conditions that may be perceived or imagined; distinguished form general language | 0 | |
| 5352958116 | General language | Words referring to broad classes of persons, objects, or phenomena; distinguished from specific language | 1 | |
| 5352958117 | Concrete diction | words that describe exact and particular conditions or qualities. Ex: "cold, creamy, and sweet" in reference to ice cream (good and neat would be abstract diction describing ice cream) | 2 | |
| 5352958118 | Abstract diction | language describing qualities that are rarefied and theoretical ex: good, interesting, neat | 3 | |
| 5352958119 | High or formal diction | Proper, elevated, elaborate, and often polysyllabic language | 4 | |
| 5352958120 | Middle or neutral diction | correct language characterized by directness and simplicity | 5 | |
| 5352958121 | Low or informal diction | relaxed, conversational, and familiar language, utilizing contradictions and elisions, and sometimes employing slang and grammatical mistakes | 6 | |
| 5352958122 | Idiom, idioms | Usage that produces unique words and phrases within regions, classes, or groups. Also the habits and structures of particular languages Ex: "drinking pop or soda" or "carrying a pail or bucket" | 7 | |
| 5352958123 | Dialects | Language characteristics- involving pronunciation, unique words, and vocal rhythms- particular to regions such as New England or the South, or to separate nations such as Britain and Australia | 8 | |
| 5352958124 | Jargon | Language exclusively used by particular groups such as doctors, lawyers, astronauts, computer operators, football players, etc. | 9 | |
| 5352958125 | Slang | Informal diction and substandard vocabulary. Some of it is a permanent part of the language. Other slang is spontaneous, rising within a group (jargon), and often then being replaced when new ... emerges. | 10 | |
| 5352958126 | Syntax | Word order and sentence structure. A mark of style is a writer's syntactical patterning (regular patterns and variations), depending on the rhetorical needs of the literary work | 11 | |
| 5352958127 | Rhetoric | The art of persuasive writing; broadly, the art of all effective writing | 12 | |
| 5352958128 | Parallelism | A figure of speech in which the same grammatical forms are repeated | 13 | |
| 5352958130 | Antithesis | a rhetorical device of opposition in which one idea or word is established, and then the opposite idea or word is expressed ex: I burn and freeze and "I love and hate" | 14 | |
| 5352958131 | Antimetabole or chiasmus | a rhetorical pattern in which words are repeated in the sequence a b b a ex: "I lead the life I love; I love the life I lead" and "When the issue deteriorates to violence; violence becomes the issue." | 15 | |
| 5352958133 | Denotation | The standard, minimal meaning of a word, without implications and connotations | 16 | |
| 5352958134 | Connotation | The meanings that words suggest; the overtones of words beyond their bare dictionary definitions or denotations Ex: leaving can mean getting away or turning tail, which have the same meaning but different ... | 17 | |
| 5352958135 | Imagery, Image | they are references that trigger the mind to fuse together of sights (visual), sounds (auditory), tastes (gustatory), smells (olfactory), sensations of touch (tactile), and perceptions of motion (kinetic, kinesthetic). It refers to a single mental creation. It refers to images throughout a work or throughout the works of a writer or group of writers. They may be literal (descriptive and pictorial) and metaphorical (figurative and suggestive) | 18 | |
| 5352958136 | Visual images | Language describing visible objects and situations | 19 | |
| 5352958137 | Auditory images | The phonetics of language, separately and collectively considered. Metrics and versification; the sounds, rhythms, rhymes, and general physical qualities of poetry; the relationships between content and sound in poetry | 20 | |
| 5352958138 | Kinetic images | Words describing general motion | 21 | |
| 5352958139 | Kinesthetic images | Words describing human or animal motion and activity | 22 | |
| 5352958140 | Figures of speech, metaphorical language, figurative language, figurative devices, and rhetorical figures | all terms used to describe organized patterns of comparison that deepen, broaden, extend, illuminate, and emphasize meaning | 23 | |
| 5352958141 | Figurative language | Organized patterns of comparison that deepen, broaden, extend, illuminate, and emphasize meaning, and also that conform to particular patterns or forms such as metaphor, simile, and parallelism | 24 | |
| 5352958142 | Metaphor | ("carrying out a change") A figure of speech that describes something as though it actually is something else, thereby enhancing understanding and insight | 25 | |
| 5352958143 | Simile | A figure of speech using "like" with nouns and "as" with clauses Ex: "the trees were bent by the wind like actors" | 26 | |
| 5352958145 | Vehicle | the image reference of figures of speech , such as a metaphor or simile; it is the thing that carries or embodies the tenor | 27 | |
| 5352958146 | Tenor | The ideas conveyed in a metaphor of simile | 28 | |
| 5352958147 | Paradox | A figure of speech embodying a contradiction that is nevertheless true | 29 | |
| 5352958148 | Anaphora, repetition | (to carry again or repeat) The repetition of the same word or phrase throughout a work or section of a work. The effect is to lend weight and emphasis. | 30 | |
| 5352958149 | Apostrophe | The addressing of a discourse to a real or imagined person who is not present; also, a speech to an abstraction | 31 | |
| 5352958150 | Personification | A figure of speech in which human characteristics are attributed to nonhuman things or abstractions | 32 | |
| 5352958151 | Synecdoche | A figure of speech in which a part stands for a whole, or a whole for a part | 33 | |
| 5352958152 | Metonymy | A figure of speech in which one thing is used as a substitute for another which it is closely identified Ex: when a speaker says "Dear Hearts" to refer to his or her audience | 34 | |
| 5352958153 | Pun, paronomasia | A witty word-play which reveals that words with different meanings have similar or even identical sounds | 35 | |
| 5352958154 | Synesthesia | A figure of speech uniting or fusing separate sensations of feelings; the description of one type of perception or though with words that are appropriate to another | 36 | |
| 5352958155 | Overstatement, hyperbole, overreacher | A rhetorical figure of speech in which emphasis is achieved through exaggeration | 37 | |
| 5352958157 | Understatement | A figure of speech by which details and ideas are deliberately underplayed or undervalued in order to create emphasis- a form of irony | 38 | |
| 5352958158 | Tone | the techniques and modes of presentation that reveal or create attitudes | 39 | |
| 5352958162 | irony | Broadly, a means of indirection. | 40 | |
| 5352958163 | Verbal irony | Language stressing the importance of an idea by stating the opposite of what is meant | 41 | |
| 5352958164 | Situational irony | A type of irony emphasizing that human beings are enmeshed in forces beyond their comprehension and control | 42 | |
| 5352958165 | Satire | An attack on human follies or vices, as measured positively against a normative religious, moral, or social standard | 43 | |
| 5352958166 | Dramatic irony | A special kind of situational irony in which a character perceives his or her plight in a limited way while the audience and one or more of the other characters understand it entirely | 44 | |
| 5352958167 | line | the basic poetic unit of length, appearing as a row of words on a page or else, sometimes, as a single word or even a part of a word, and cohering grammatically through phrases and sentences. Lines in closed-form poetry are composed and determinable numbers of metrical feet; lines in open-form poetry are variable, depending on content and rhythmical speech patterns | 45 | |
| 5352958168 | Heavy-stress rhyme or rising rhyme | A rhyme such as rhyming iambs or anapests ending with strong stress. The rhymes may be produced with one syllable words like SKY and FLY, or with multisyllabic words in which the accent falls on the last syllable such as deCLINE and conFINE | 46 | |
| 5352958169 | Light stress | In speech and in metrical scansion, the less emphasized syllables Ex: Shakespeare's "That TIME of YEAR," in which that and of are pronounced less emphatically than TIME and YEAR | 47 | |
| 5352958170 | Feet, foot | it consists of the measured combination of heavy and light stresses, such as the iamb, which contains a light stress followed by a heavy stress. In poetic scansion, it is separated by a virgule or single slash mark (/) Ex: "of YEAR" | 48 | |
| 5352958171 | Meter | The number of feet within a line of traditional verse Ex: an iambic pentameter referring to a line containing five iambs | 49 | |
| 5352958172 | Iamb | a two-syllable foot consisting of a light stress followed by a heavy stress. This is the most common metrical foot in English poetry because it closely resembles natural speech wile it also follows measured poetic accents. Ex: the WINDS, have FELT, of MAY | 50 | |
| 5352958173 | Trochee, trochaic | A two-syllable foot consisting of a heavy stress followed by a light stress. Sometimes called a choree Ex: RUN-ing, SING-ing, EAT-ing | 51 | |
| 5352958174 | Spondee | A two-syllable foot consisting of successive, equally heavy accents Ex: SLOW TIME, MEN'S EYES | 52 | |
| 5352958175 | Pyrrhic | A substitute metrical foot consisting of two unaccented syllables Ex: "on their" in this line from Pope's Pastorals: "Now sleeping flocks on their soft fleeces lie" | 53 | |
| 5352958176 | Anapest | A three-syllable foot consisting of two light stresses climaxed by a heavy stress ex: ear-ly LIGHT | 54 | |
| 5352958177 | Dactyl | A three-syllable foot consisting of a heavy stress followed by two lights Ex: "QOUT-a-ble" and "SYN-the-sis" | 55 | |
| 5352958178 | Imperfect foot | A metrical foot consisting of a single syllable, either heavily or lightly stressed, as the "er" in "a joy forever." There is nothing imperfect about this. It is so names because, having only one syllable, it does not fit into the patterns of the other poetic feet. Some analysts of prosody explain the absence of a syllable within an established poetic foot as a catalexis | 56 | |
| 5352958179 | Scan, Scansion | The act of determining the prevailing rhythm and poetic characteristics of a poem | 57 | |
| 5352958180 | Metrics, prosody, versification, music of poetry | the sounds, rhythms, rhymes, and general physical qualities of poetry; the relationships between content and sound in poetry | 58 | |
| 5352958181 | Pentameter | a line of five metrical feet | 59 | |
| 5352958182 | Tetrameter | A line of four metrical feet | 60 | |
| 5352958183 | Trimeter | A line of 3 metrical feet Ex: "Today I went to school" | 61 | |
| 5352958184 | Dimeter | a line of two metrical feet | 62 | |
| 5352958185 | Monometer | a line consisting of one metrical foot | 63 | |
| 5352958186 | Stanza, stanzaic | A group of poetic lines corresponding to paragraphs in prose; stanzaic meters and rhymes are usually repeating and systematic | 64 | |
| 5352958187 | Rhyme | The repetition of identical or closely related sounds in the syllables of different words, almost always in concluding syllables at the ends of lines such as Shakespeare's DAY and MAY and Swinburne's for EVER and NEVER | 65 | |
| 5352958188 | Internal rhyme | The occurrence of rhyming words within a single line of verse. Ex: "Can ever dissever" | 66 | |
| 5352958189 | Alliteration | the repetition of identical consonant sounds (most often the sounds beginning words) in close proximity Ex: "pensive poets" "somewhere safe to sea" "gracious, golden, glittering, gleams" "And death once dead, there's no more dying then" | 67 | |
| 5352958190 | Assonance | the repetition of identical vowel sounds in different words in close proximity Ex: "the deep green sea" | 68 | |
| 5352958192 | Blank verse | Unrhymed iambic pentameter. Most of the poetry in Shakespeare's plays is blank verse | 69 | |
| 5352958193 | Couplet | two lines that may be unified by rhyme or in biblical poetry by content | 70 | |
| 5352958194 | Heroic couplet or Neoclassic couplet | Also called the neoclassic couplet. Two successive rhyming lines of iambic pentameter, a characteristic of much poetry written between 1600 and 1800. 5 stress couplets are often called "heroic" regardless of their topic matter and the period in which they are written. | 71 | |
| 5352958198 | Tercet, triplet | a three-line unit or stanza of poetry, usually rhyming a a a, b b b, etc. | 72 | |
| 5352958199 | Terza rima | A three-line stanza form with the interlocking rhyming pattern a b a, b c b, c d c, etc. | 73 | |
| 5352958200 | Villanelle | A closed-form poem of 19 lines, composed of 5 tercets and concluding quatrain. The form requires that whole lines be repeated in a specific order and that only 2 rhyming sounds occur throughout | 74 | |
| 5352958201 | Quatrain | *four line stanza *most common and adaptable stanzaic building block *may be rhymed aaaa, abab, abba, aaba, or even abcb *basic components of many traditional closed forms, most notably ballads and sonnets, and they are significant in many religious hymns | 75 | |
| 5352958202 | Sonnet | 14 lines and is one of the most popular and durable closed poetic forms | 76 | |
| 5352958203 | Italian sonnet, Petrarchan sonnet | An iambic pentameter poem of 14 lines, divided between the first 8 lines (the octave) and the last 6 (the sestet). This sonnet uses 5 rhymes | 77 | |
| 5352958204 | Octave | The first eight lines of an Italian sonnet, unified by topic, rhythm, and rhyme | 78 | |
| 5352958205 | Sestet | 1. A 6 line stanza or unit of poetry 2. the last 6 lines of an Italian sonnet | 79 | |
| 5352958206 | Shakespearean sonnet, English sonnet | A sonnet form developed by Shakespeare, in iambic pentameter, composed of three quatrains and a couplet, with 7 rhymes in the pattern abab cdcd efef gg | 80 | |
| 5352958207 | Song, lyric | 1. A short poem or song written in a fixed stanzaic form. If it is set to music for performance, each new stanza is usually sung to the original melody. 2. The Aristotelian term for the "several kinds of artistic ornament," such as strophes and anti-strophes, that are to be used appropriately in a tragedy. | 81 | |
| 5352958208 | Ode | A variable stanzaic poetry form (usually long, to contrast it with the song) with varying line lengths and sometimes intricate rhyme schemes | 82 | |
| 5352958209 | Elegy | a poem of lamentation about a death. Often takes the form of a pastoral | 83 | |
| 5352958210 | Pastoral | A traditional poetic form with topic material drawn from the often idealized lives and vocabularies of rural and shepherd life. | 84 | |
| 5352958211 | Ballad/ ballad measure | a narrative poem, originally a popular form, composed of quatrains in ballad measure; that is, a pattern of iambic tetrameter alternating with iambic trimester and rhyming x-a-x-a | 85 | |
| 5352958212 | Common measure | a closed poetic quatrain, rhyming a b a b, in which lines of iambic tetrameter alternate with iambic trimeter | 86 | |
| 5352958213 | Hymnal stanza, hymn, or hymnal measure | A religious song, consisting of one and usually many more replicating rhythmical stanzas. When in iambics, It consists of 4 lines of 4 stresses or else of 4 lines of alternating 4 and 3 stresses, rhyming x a x a or a b a b. | 87 | |
| 5352958214 | Haiku | A poetic form derived from Japanese, traditionally containing three lines of 5,7,5 syllables, in that order, and usually treating a topic derived from Nature | 88 | |
| 5352958486 | Epigram | a short and witty poem, often in couplets, that makes a humorous or satiric point | 89 | |
| 5352958487 | Epitaphs | a short comment or description marking someone's death. Also a short, witty, and often satiric poem about death | 90 | |
| 5352958488 | Limerick | A brief poem with pre-established line lengths and rhyming patterns, designed to be comic. Quite often, they are risque | 91 | |
| 5352958489 | Double dactyl | closed-form humors; devised in the 1960s; this form is related to the epigram, limerick, and clerihew, and it has rules that govern the meter, line length, and specific topic material | 92 | |
| 5352958490 | Clerihew | a comic and often satiric closed-form poem in four lines, rhyming a b a b, usually on the topic of a famous real or literary person | 93 | |
| 5352958491 | Closed form poetry | poetry written in specific and traditional patterns produced through control of rhyme, meter, line-length, and line groupings | 94 | |
| 5352958492 | Open-form poetry | Poems that avoid traditional structural patterns, such as rhyme and meter, in favor of other methods of organization | 95 | |
| 5352958493 | Free verse | Poetry based on the natural rhythms of phrases and normal pauses, not metrical feet | 96 | |
| 5352958494 | Prose poems | A short work, laid out to look like prose, but employing the methods of verse, such as rhythm and imagery, for poetic ends | 97 | |
| 5352958495 | Visual poetry, shaped verse, picture poetry | Poetry written so that the lines form a recognizable shape, such as a pair of wings or geometrical fighre. Also called concrete poetry. | 98 | |
| 5352958496 | Symbol, symbolism | A specific word, idea, or object that may stand for ideas, values, persons, or ways of life | 99 | |
| 5352958498 | Cultural or universal symbols | A symbol that is recognized an shared as a result of a common political, social, and cultural heritage | 100 | |
| 5352958499 | Contextual private or authorial symbols | A symbol which is derived not from common historical, cultural, or religious materials, but which is rather developed within the context of an individual work | 101 | |
| 5352958500 | Allusions | Unacknowledged references and quotations which authors make while assuming that readers will recognize the original sources and relate their meanings to the new context. Allusions are hence compliments that the author pays to readers for their perceptiveness, knowledge, and awareness | 102 |
