Terms : Hide Images
| 85219301 | Allusion | A direct or indirect reference to something which is presumably commonly know, such as an event, book, myth, place, or work of art; can be historical, literary, religious, or mythical | 0 | |
| 85219302 | Ambiguity | The multiple meanings, either intentional or unintentional, of a word, phrase, sentence, or passage | 1 | |
| 85219303 | Anadiplosis | The repetition of a key word, especially the last one, at the beginning of the next sentence or clause | 2 | |
| 85219304 | Analogy | A similarity or comparison between two different things or the relationship between them; can explain something unfamiliar by associating it with or pointing out its similarity to something more familiar; can also make writing more vivid, imaginative, or intellectually engaging | 3 | |
| 85219305 | Anaphora | The rhetorical device of repeating a word or phrase at the beginning of a successive clauses or sentences for emphasis and rhythm | 4 | |
| 85219306 | Anathema | A thing or person accursed or damned; a thing or person greatly detested; a formal curse or condemnation excommunicating a person from a church or damning something; any strong curse | 5 | |
| 85219307 | Antecedent | The word, phrase, or clause referred to by a pronoun | 6 | |
| 85219308 | Antimetabole | Repeating words in reverse order for surprise and emphasis | 7 | |
| 85219309 | Antithesis | A contrast or opposition of thoughts, usually in two phrases, clauses, or sentences | 8 | |
| 85219310 | Aphorism | A terse statement of known authorship which expresses a general truth or a moral principle. (If the authorship is unknown, the statement is generally considered to be a folk proverb.); can be a memorable summation of the author's point | 9 | |
| 85219311 | Archetype | The original pattern, or model from which all other things of the same kind are made; a perfect example of type or a group | 10 | |
| 85219312 | Asyndeton | The practice of leaving out the usual conjunctions between coordinate sentence elements | 11 | |
| 85219313 | Attitude | The position of posture assumed in connection with an action, feeling, mood. For example, to kneel in an attitude of prayer. Also a manner of acting, feeling or thinking that shows one's disposition, opinion, or mental set, etc. | 12 | |
| 85219314 | Balanced Sentence | The phrases or clauses balance each other by virtue of their likeness of structure, meaning, or length | 13 | |
| 85219315 | Bathos | An abrupt change from the lofty to the ordinary or trivial in writing or speech; anticlimax | 14 | |
| 85219316 | Chiasmus | Similar to antimetabole, but reversing the grammatical elements rather than just words, for emphasis | 15 | |
| 85219317 | Clause | A grammatical unit containing both a subject and a verb. An independent, or main, clause expresses a complete thought and can stand alone as a sentence. A dependent, or subordinate, clause cannot and must be accompanied by an independent clause | 16 | |
| 85219318 | Cliche | An overused, worn-out, hackneyed expression that used to be fresh nut is no more | 17 | |
| 85219319 | Colloquial/colloquialism | The use of slang or informalities in speech or writing. Not general acceptable for formal writing; gives a work a conversational, familiar tone; includes local and regional dialects | 18 | |
| 85219320 | Complex sentence | Contains one or more principal clauses and one or more subordinate clauses | 19 | |
| 85219321 | Compound sentence | Contains two independent clauses joined by a coordinate conjunction (and, but, or) or by a semicolon | 20 | |
| 85219322 | Compound-complex sentence | Contains two or more principal clauses and one or more subordinate clauses | 21 | |
| 85219323 | Conceit | A fanciful expression, usually in the form of an extended metaphor or surprising analogy between seemingly dissimilar objects; displays intellectual cleverness due to the unusual comparison made | 22 | |
| 85219324 | Connotation | The non-literal, associative meaning of a word; the implied, suggested meaning; involves ideas, emotions, or attitudes | 23 | |
| 85219325 | Cumulative sentence | sentence that begins with the main idea an adds additional information, usually for description. Also called a loose sentence | 24 | |
| 85219326 | Declarative sentence | A sentence that makes a statement | 25 | |
| 85219327 | Denotation | The strict, literal, dictionary definition of a word, devoid of any emotion, attitude, or color | 26 | |
| 85219328 | Diction | Related to style; refers to the writer's choices, especially with regard to their correctness, clearness, or effectiveness. For the AP exam, you should be able to describe and understand the ways in which this can complement the author's purpose; combined with syntax, figurative language, literary devices, etc., creates an author's style | 27 | |
| 85219329 | Didactic | From the Greek, literally means "teaching." These works have the primary aim of teaching or instructing, especially the teaching of moral or ethical principles | 28 | |
| 85219330 | Ellipsis | The emission of a word or words for complete grammatical construction but understood in the context. Also, an intentional omission of words or letters or an abrupt change of thought, lapse of time, incomplete statement, etc. | 29 | |
| 85219331 | Epanalepsis | Opening and closing a sentence with the same word or phrase for surprise and emphasis | 30 | |
| 85219332 | Epic | A long narrative poem in a dignified style about the deeds of a hero or heroes, who in some way embody the cultural values of their society; traditionally follow certain conventions, such as a prayer or invocation to the muse, opening in the middle of an action, and characters who are gods and goddesses | 31 | |
| 85219333 | Epigram | A short poem with a witty or satirical point; any terse, witty, pointed statement, often antithetical | 32 | |
| 85219334 | Epistles | Also known as a literary letter, is a formal composition written in the form of a letter addressed to a distant person or group of people. Unlike common personal letters, which tend to be conversation and private compositions, these are carefully crafted works of literature, intended for a general audience | 33 | |
| 85219335 | Euphemism | From the Greek for "good speech," these are polite substitutes for unpleasant words or concepts; may be used to adhere to standards of social or political correctness, or to add humor or ironic understatement | 34 | |
| 85219336 | Euphony | The quality of having a pleasing sound; pleasant combination of agreeable sounds | 35 | |
| 85219337 | Extended parallelism | The repetition of words or grammatical elements to achieve cumulative force and rhythm | 36 | |
| 85219338 | Extended metaphor | A metaphor developed at great length, occurring frequently in or throughout a work | 37 | |
| 85219339 | Fable | A brief story, usually with animal characters, that teaches a lesson, or moral | 38 | |
| 85219340 | Figurative language | A device used to produce figurative language. Many compare dissimilar things. Figures of speech include, for example, apostrophe, hyperbole, irony, metaphor, metonymy, onomatopoeia, etc. | 39 | |
| 85219341 | Genre | kinds or types of literature. For example, poetry, drama, novel, short story, nonfiction, etc. | 40 | |
| 85219342 | Homily | A sermon or morally instructive lecture | 41 | |
| 85219343 | Hyperbole | An overstatement or exaggerated way of saying something. In literature, this is classified as a figure of speech | 42 | |
| 85219344 | Imagery | Anything in a literary work that calls up sensations of sight, taste, smell, touch, heat, pressure | 43 | |
| 85219345 | Inference/infer | To conclude or decide from something known or assumed; derive by reasoning | 44 | |
| 85219346 | Invective | A violent verbal attack; strong criticism, curses; an abusive term | 45 | |
| 85219347 | Inverted order of a sentence (sentence inversion) | This involves constructing a sentence so the predicate comes before the subject. This is a device in which the normal sentence patters are reversed to create an emphatic or rhythmiceffect | 46 | |
| 85219348 | Irony | an implied contrast; the contrast between what is said and what is intended in verbal this; in dramatic this, a character in a play, short story, or novel expects one outcome of a situation that the audience knows will end a different way. In situational this, something happens that is the opposite of, or very different from, what is expected | 47 | |
| 85219349 | Juxtaposition | A poetic and rhetorical device in which normally unassociated ideas, words, or phrases are placed next on e another, creating an effect of surprise and wit | 48 | |
| 85219350 | Language | The entire body of words used in a text, not simply isolated bits of diction; for example, an invitation to a graduation might use formal this, whereas a biology text book would use scientific and clinical this | 49 | |
| 85219351 | Literal/figurative | Employs words in their ordinary meanings, whereas figurative is not literally true but uses words metaphorically | 50 | |
| 85219352 | Litotes | Understatement employed for the purpose of enhancing the effect of the ideas expressed. Contains a negative | 51 | |
| 85219353 | Loose sentence | sentence that begins with the main ideas and adds additional information, usually for description; also called a cumulative sentence | 52 | |
| 85219354 | Metaphor | A comparison like a simile but usually implied and without a comparative word such as "like" or "as." | 53 | |
| 85219355 | Metonymy | The use of the name of one thing for that of another associated with or suggested by it | 54 | |
| 85219356 | Mock heroic | burlesquing or mocking heroic manner, action, or character | 55 | |
| 85219357 | Mood | The atmosphere of the literary work. In verbs, an expression of the manner in which the action is done. The three moods in English are indicative, the most common, which states the action as an actual fact, imperative, stating a command. A third mood, the subjunctive, is now rare in English. It is used to express a wish or a conditional statement | 56 | |
| 85219358 | Motif | A main theme or subject | 57 | |
| 85219359 | Myth | A fictional tale that explains the actions of gods or heroes or the causes of natural phenomena. Some are a kind of primitive science, explaining how and why natural phenomena came about. Others express the central values of the people who created them | 58 | |
| 85219360 | Narrative | the telling of any story, or the story itself, the plot | 59 | |
| 85219361 | Natural order of a sentence | this involves constructing a sentence so the subject comes before the predicate | 60 | |
| 85219362 | Novel | a fictional prose narrative, usually long enough to be published in a book itself | 61 | |
| 85219363 | Onomatopoeia | The use of words that sound like what they mean. "Buzz," "clang," and "hiss" are examples | 62 | |
| 85219364 | Oxymoron | a figure of speech in which opposite or contradictory ideas or terms are combined | 63 | |
| 85219365 | Parable | a brief story, usually with human characters, that teaches a moral lesson. The most famous ones are those told by Christ in the Bible | 64 | |
| 85219366 | Paradox | A statement that seems contradictory, unbelievable, or absurd but that may actually be true in fact | 65 | |
| 85219367 | Parallelism (1) | Refers to a grammatical or structural similarity between sentences or parts of a sentence. It involves an arrangement of words, phrases, sentences, and paragraphs so that elements of equal importance are equally developed and similarly phrased | 66 | |
| 85219368 | Parallelism (2) | Refers to the repeated use of phrases, clause or sentences that are similar in structure and meaning. Writers use this technique to emphasize important ideas, create rhythm and make their writing forceful and direct | 67 | |
| 85219369 | Parody | A literal work that makes fun of another work, type of work, or specific author usually by imitating and exaggerating the qualities of its subject | 68 | |
| 85219370 | Pedantic | An unnecessary display of scholarship lacking in judgment or sense of proportion | 69 | |
| 85219371 | Periodic sentence | sentence that postpones the main idea to the end, adding information at the beginning to build interest or tension | 70 | |
| 85219372 | Personification | The treatment of an object or an abstract idea of if it were a person | 71 | |
| 85219373 | Point of view | in fiction, this is the person or intelligence the writer creates to tell the story to the reader; may be that of a character in the story or of an outside observer who is not part of the action | 72 | |
| 85219374 | Prose | The ordinary form of written or spoken language, without rhyme; speech or writing that is not poetry | 73 | |
| 85219375 | Prosody | The science or art of versification, including the study of metrical structure, rhyme, stanza forms, etc. | 74 | |
| 85219376 | Pun | Play of words that are identical or similar in sound but have sharply diverse meanings; can have serious as well as humorous uses | 75 | |
| 85219377 | Repetition | A device in which words, sounds, and ideas are used more than once to enhance rhythm and create emphasis | 76 | |
| 85219378 | Rhetoric | The skill of using spoken or written communication effectively. It is the art of guiding the reader or listener to agreement with the writer or speaker. Spoken is called oratory | 77 | |
| 85219379 | Rhetoric Modes/or Forms of Discourse | Narrative, descriptive, expository, and argumentative | 78 | |
| 85219380 | Rhetorical question | a question that expects no answer. it is used to draw attention to a point an dis generally stronger than a direct statement | 79 | |
| 85219381 | Romance | A story that presents remote or imaginative incidents rather than ordinary, commonplace experience. Although the events in a romance are improbably or impossible, the story commonly presents real moral issues or conflicts | 80 | |
| 85219382 | Sarcasm | A taunting, sneering, cutting, or caustic remark; gibe or jeer | 81 | |
| 85219383 | Satire | A literary work that ridicules various aspects of human behavior. Its purpose is often to correct certain faults, but underneath the surface it is sometimes pure personal attack | 82 | |
| 85219384 | Semantics | The nature, structure, development, and changes of the meaning of speech forms or with contextual meaning | 83 | |
| 85219385 | Sentence structure | How a speaker or author constructs a sentence affects what the audience understands. The inverted order of an interrogative sentence cues the reader or listener to a question and creates a tension between speaker and listener. Similarly short sentences are often emphatic, passionate or flippant, whereas longer sentences suggest the writer's thoughtful responses | 84 | |
| 85219386 | Shift | A change of feelings by the speaker from the beginning to the end, paying particular attention to the conclusion of the literature | 85 | |
| 85219387 | Simile | The comparison of two different things or ideas through the use of the words "like" or "as." It is a definitely state comparison in which the poet says one things is like another | 86 | |
| 85219388 | Simple sentence | Contains one subject and one verb | 87 | |
| 85219389 | Soliloquy | Lines in a drama in which a character reveals his thoughts to the audience, but not to the other characters, by speaking as if to himself | 88 | |
| 85219390 | Split order of a sentence | sentence that divides the predicate into two parts with the subject coming in the middle | 89 | |
| 85219391 | Stream of consciousness | A narrative technique that presents thoughts as if they were coming directly from a character's mind, instead of being arranged in chronological order, the events of the story are presented from the character's point of view, mixed in with the character's feeling and memories just as they might spontaneously occur in the mind of a real person | 90 | |
| 85219392 | Style | A group of different aspects of writing that have to do with the writer's way of saying something (as opposed to the ideas of content of the text). Diction, sentence structure, figurative language and various sound patterns all enter into style | 91 | |
| 85219393 | Syllogism | An argument or form of reasoning in which two statements or premises are made a logical conclusion drawn from them | 92 | |
| 85219394 | Symbol/Symbolism | A thing or action that is made to mean more than itself. A rose, for instance, may be used to symbolize love. Writers often use these to express ideas that are too complicated, too elusive, or too deep for literal expression | 93 | |
| 85219395 | Synecdoche | A form of a metaphor. A part of something is used to signify the whole. Also, the reverse, whereby the whole can represent a part, is this. Another form of this involves the container representing the thing being contained. In one last form, the material from which an object is made stands for the object itself. In metonymy, the name of one thing is applied to another things with which it is closely associated | 94 | |
| 85219396 | Syntax | At its simplest level, this consists of sentence structure and word order, buy analysis of style and meaning never relies on one concept alone; should not be studied in isolation, but rather it should be examined in conjunction with other stylistic techniques that work together to develop meaning | 95 | |
| 85219397 | Theme | What the author is saying about the subjects in his work | 96 | |
| 85219398 | Tone | The writer's or speaker's attitude toward the subject and the audience | 97 | |
| 85219399 | Trite | Is applied to something, especially an expression or idea which through repeated use or application has lost its original freshness | 98 | |
| 85219400 | Vernacular | Using the native language of a country or place; commonly spoken by the people of a particular country or place | 99 | |
| 85219401 | Vignette | A short, delicate literary sketch | 100 | |
| 85219402 | Rhetorical Strategies | Methods of development | 101 | |
| 85219403 | Argument and persuasion | Propounding opinions and proposals | 102 | |
| 85219404 | Cause and Effect | asking how and why things happen | 103 | |
| 85219405 | Classification | sorting into kinds | 104 | |
| 85219406 | Definition | tracing boundaries | 105 | |
| 85219407 | Description | writing with the senses | 106 | |
| 85219408 | Analysis | slicing into parts | 107 | |
| 85219409 | Process analysis | examining step by step | 108 | |
| 85219410 | Example | pointing to instances | 109 | |
| 85219411 | Narration | Telling a story | 110 | |
| 85219412 | Induction | A process in logic that involves moving from a number of particular cases to a general conclusion that all instances of the type investigated will conform to that type | 111 | |
| 85219413 | Inductive leap | because we cannot est every instance (past, present, future), we take the leap from "most" or "some" to "all." We reach a generalization | 112 | |
| 85219414 | Begging the question | assuming something to be true that really needs proof | 113 | |
| 85219415 | Ignoring the question | a question is set up so that argument is shifted to new ground, or an appeal is made to some emotional attitude having nothing to do with the logic of the case. | 114 | |
| 85219416 | Equivocation | using the same term with different meanings | 115 | |
| 85219417 | Non-Sequitur | (Latin, literally: "it does not follow") The conclusion does not follow from the preceding arguments | 116 | |
| 85219418 | Faulty dilemma | the major premise presents a choice that does not exhaust the possibilities | 117 | |
| 85219419 | Post Hoc Ergo Propter Hoc | ("After this, therefore because of this") It attempts to prove that because a second event followed a first event, the second event was the results of the first | 118 | |
| 85219420 | Argumentum ad Hominem | (the argument to the man") Turning from the issue to the character involved, usually as an attack | 119 | |
| 85219421 | Ad Misericordiam | an appeal for sympathy | 120 | |
| 85219422 | Hypothesis Contrary to Fact | Beginning with a premise that is not necessarily true and drawing conclusions from it | 121 | |
| 85219423 | Composition | arguing that a group must have the same qualities or characteristics as its members | 122 | |
| 85219424 | Division | arguing that an individual must have the characteristics of the group | 123 | |
| 85219425 | Dicto Simpliciter | an argument based on an unqualified generalization | 124 | |
| 85219426 | Contradictory Premises | the main premises contradict each other | 125 | |
| 85219427 | Over-generalizing (or Hasty Generalization) | Too few instances are presented to reach an accurate conclusion | 126 | |
| 85219428 | Premise and the common ground | the terms of the premise must be accepted as true | 127 | |
| 85219429 | False analogy | wrongful comparisons of dissimilar situations | 128 | |
| 85219430 | Ad Vericundiam | an appeal to general authority | 129 | |
| 85219431 | Ad Populum | appeal to a crowd | 130 | |
| 85219432 | Self-Evident truths | Proceeding from an unwarranted assumption to a foregone conclusion, includes folk sayings | 131 | |
| 85219433 | Guilt (or innocence) by association | use of irrelevant connections to accuse or vindicate | 132 | |
| 85219434 | Either/or fallcy | requires absolutes which do not allow for intermediate cases | 133 | |
| 85219435 | Appeals | rational, ethical, emotional | 134 | |
| 85219436 | Argument | data, claim, warrant | 135 | |
| 85219437 | Classicism | an approach to literature and the other arts that stresses reason, balance, clarity, ideal beauty, and orderly form in imitation of the arts of ancient Greece and Rome; is often contrasted by Romanticism, which stresses imagination, emotion, and individualism; also differs from Realism, which stresses the actual rather than the ideal | 136 | |
| 85219438 | Romanticism | a literary and artistic movement of the nineteenth century, one that arose in reaction against eighteenth-century Neoclassicism and that placed a premium on fancy, imagination, emotion, nature, individuality, and exotica. | 137 | |
| 85219439 | Realism | the presentation in art of the details of actual life; was also a literary movement that began during the nineteenth century and that stressed the actual as opposed to the imagined or the fanciful. Writers tried to write truthfully and objectively about ordinary characters in ordinary situations | 138 | |
| 85219440 | Naturalism | a literary movement among novelists at the end of the nineteenth century and during the early decades of the twentieth. Writers tended to view people as hapless victims of immutable natural laws. | 139 |
