Terms : Hide Images
| 7052674662 | Abstract | refers to language that describes concepts rather than concrete images (ideas and qualities rather than observable or specific things, people, or places). The observable or "physical" is usually described in concrete language | 0 | |
| 7052674663 | Anecdote | a short, simple narrative of an incident; often used for humorous effect or to make a point. | 1 | |
| 7052678121 | Annotation | Explanatory notes added to a text to explain, cite sources, or give bibliographical data | 2 | |
| 7052678824 | Argumentation | writing that attempts to prove the validity of a point of view or an idea by presenting reasoned arguments; persuasive writing is a form of argumentation. | 3 | |
| 7052679534 | Colloquialism | a word or phrase (including slang) used in everyday conversation and informal writing but that is often inappropriate in formal writing (y'all, ain't) | 4 | |
| 7052681164 | Concrete Language | Language that describes specific, observable things, people, or places, rather than ideas or qualities. | 5 | |
| 7052682422 | Connotation | implied or suggested meaning of a word because of its association in the reader's mind. | 6 | |
| 7052683752 | Description | the picturing in words of something or someone through detailed observation of color, motion, sound, taste, smell, and touch; one of the four modes of discourse | 7 | |
| 7052683753 | Diction | word choice, an element of style; Diction creates tone, attitude, and style, as well as meaning. Different types and arrangements of words have significant effects on meaning. An essay written in academic diction would be much less colorful, but perhaps more precise than street slang. | 8 | |
| 7052685050 | Emotional Appeal; Pathos | When a writer appeals to readers' emotions (often through pathos) to excite and involve them in the argument. | 9 | |
| 7052686370 | Emotional Appeal; Ethos | When a writer tries to persuade the audience to respect and believe him or her based on a presentation of image of self through the text. Reputation is sometimes a factor in ethical appeal, but in all cases the aim is to gain the audience's confidence | 10 | |
| 7052686371 | Euphemism | a more acceptable and usually more pleasant way of saying something that might be inappropriate or uncomfortable. "He went to his final reward" is a common euphemism for "he died." Euphemisms are also often used to obscure the reality of a situation. The military uses "collateral damage" to indicate civilian deaths in a military operation. | 11 | |
| 7052688033 | Example | An individual instance taken to be representative of a general pattern. Arguing by example is considered reliable if examples are demonstrable true or factual as well as relevant. | 12 | |
| 7052688764 | Exposition | the immediate revelation to the audience of the setting and other background information necessary for understanding the plot; also, explanation; one of the four modes of discourse | 13 | |
| 7052688765 | Figurative Language | Such as metaphor, simile, personification, etc | 14 | |
| 7052689462 | Humor | anything that causes laughter or amusement; up until the end of the Renaissance, humor meant a person's temperament | 15 | |
| 7052689463 | Hyperbole | deliberate exaggeration in order to create humor or emphasis (Example: He was so hungry he could have eaten a horse.) | 16 | |
| 7052690068 | Image | A word or words, either figurative or literal, used to describe a sensory experience or an object perceived by the sense. An image is always a concrete representation. | 17 | |
| 7052690069 | Jargon | The special language of a profession or group. The term jargon usually has pejorative Associations with the implication that jargon is evasive, tedious, and unintelligible to outsiders. The writings of the lawyer and the literary critic are both susceptible to jargon | 18 | |
| 7052692021 | Logical Appeal; Logos | When a writer tries to persuade the audience based on statistics, facts, and reasons. The process of reasoning | 19 | |
| 7052692022 | Mood | similar to tone, mood is the primary emotional attitude of a work (the feeling of the work; the atmosphere). Syntax is also a determiner of mood because sentence strength, length, and complexity affect pacing. | 20 | |
| 7052693125 | Parallelism | the technique of arranging words, phrases, clauses, or larger structures by placing them side by side and making them similar in form. Parallel structure may be as simple as listing two or three modifiers in a row to describe the same noun or verb; it may take the form of two or more of the same type of phrases (prepositional, participial, gerund, appositive) that modify the same noun or verb; it may also take the form of two or more subordinate clauses that modify the same noun or verb. Or, parallel structure may be a complex bend of singe-word, phrase, and clause parallelism all in the same sentence. Example (from Churchill): "We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields." | 21 | |
| 7052693901 | Regionalism | an element in literature that conveys a realistic portrayal of a specific geographical locale, using the locale and its influences as a major part of the plot | 22 | |
| 7052695231 | Rhetorical Question | one that does not expect an explicit answer. It is used to pose an idea to be considered by the speaker or audience. | 23 | |
| 7052695232 | Sarcasm | harsh, caustic personal remarks to or about someone; less subtle than irony | 24 | |
| 7052696058 | Style | an author's characteristic manner of expression - his or her diction, syntax, imagery, structure, and content all contribute to style | 25 | |
| 7052697429 | Synecdoche | a figure of speech in which a part of something is used to represent a whole, such as using "boards" to mean a stage or "wheels" to mean a car - or "All hands on deck." | 26 | |
| 7052698633 | Theme | the central idea or "message" or a literary work | 27 | |
| 7052698634 | Thesis | the main idea of a piece of writing. It presents the author's assertion or claim. The effectiveness of a presentation is often based on how well the writer presents, develops, and supports the thesis. | 28 | |
| 7052699704 | Tone | the characteristic emotion or attitude of an author toward the characters, subject, and audience (anger, sarcastic, loving, didactic, emotional, etc.) | 29 | |
| 7052699705 | Transition | 30 | ||
| 7052701751 | Understatement | the opposite of exaggeration. It is a technique for developing irony and/or humor where one writes or says less than intended. | 31 | |
| 7052977960 | Oxymoron | a figure of speech composed of contradictory words or phrases, such as "wise fool," bitter-sweet, "pretty ugly," "jumbo shrimp," "cold fire" | 32 | |
| 7053035403 | Paradox | a statement that seems to contradict itself but that turns out to have a rational meaning, as in this quotation from Henry David Thoreau; "I never found the companion that was so companionable as solitude." | 33 | |
| 7053254260 | Persuasion | a form of argumentation, one of the four modes of discourse; language intended to convince through appeals to reason or emotion. | 34 | |
| 7053272366 | Repetition | Word or phrase used two or more times in close proximity | 35 | |
| 7053306267 | Syntax | the grammatical structure of a sentence; the arrangement of words in a sentence. Syntax includes length of sentence, kinds of sentences (questions, exclamations, declarative sentences, rhetorical questions, simple, complex, or compound). | 36 |
