| 11630778309 | Diction | A writer's or speaker's choice of words | | 0 |
| 11630782195 | Levels of Diction | Formal, Standard, Colloquial, Low | | 1 |
| 11630790351 | Diction: High, elevated, formal, scholarly | Contains language that creates an elevated tone. It is free of slang, idioms, colloquialisms, and contradictions | | 2 |
| 11630804230 | Diction: Standard English | The ordinary speech of educated native speakers | | 3 |
| 11630810190 | Diction: Colloquial | Characteristic of ordinary conversation rather than formal speech or writing | | 4 |
| 11630815195 | Diction: Low | The lowest level of formality in language, vulgate is the diction of the common people with no pretensions at refinement or elevation | | 5 |
| 11630831301 | Dialect | A particular form of a language that is peculiar to a specific region or social group | | 6 |
| 11630838335 | Slang | A group of newly coined words which are not acceptable for formal usage as yet | | 7 |
| 11630849272 | Vulgar | lacking refinement or taste; crude | | 8 |
| 11630868790 | Abstract Diction | words that express general ideas or concepts | | 9 |
| 11630876504 | Archaic diction | Old-fashioned or outdated choice of words | | 10 |
| 11630880598 | Bombast | Pompous or pretentious talk or writing | | 11 |
| 11630887738 | Cliché | a worn-out idea or overused expression | | 12 |
| 11630891047 | concrete diction | consists of specific words that describe physical qualities or conditions | | 13 |
| 11630897059 | Connotation | the implied or associative meaning of a word | | 14 |
| 11630903667 | Denotation | The dictionary definition of a word | | 15 |
| 11630916243 | Didactic | intended to teach | | 16 |
| 11630923664 | double entendre | a word or phrase open to two interpretations, one of which is usually risqué or indecent | | 17 |
| 11630930184 | Epithet | A descriptive name or phrase used to characterize someone or something | | 18 |
| 11630939045 | Euphemism | An indirect, less offensive way of saying something that is considered unpleasant | | 19 |
| 11630940371 | Jargon | special words or expressions that are used by a particular profession or group and are difficult for others to understand | | 20 |
| 11630945810 | Literal/Figurative meanings | Literal is based on the actual words in their ordinary meaning. Figurative gives a more symbolic meaning or representing one concept in terms of another that may be thought of as analogous | | 21 |
| 11630949020 | Malapropism | the unintentional misuse of a word by confusion with one that sounds similar | | 22 |
| 11630958601 | Poetic/Flowery language | Distinctive language used by poets; language that would not be common in their everyday speech. | | 23 |
| 11630962408 | Portmanteau | a new word formed by joining two others and combining their meanings | | 24 |
| 11633716928 | Atmoshpere (Mood) | the feeling created in the reader by a literary work or passage | | 25 |
| 11633716929 | Character | A person in a story | | 26 |
| 11633716930 | Antagonist | A character or force in conflict with the main character | | 27 |
| 11633716931 | Archetype | an original model on which something was patterned or replicated; the ideal example of a particular type of person or thing | | 28 |
| 11633716932 | Dynamic Character | a literary or dramatic character who undergoes an important inner change, as a change in personality or attitude | | 29 |
| 11633716933 | Flat character | A character who embodies a single quality and who does not develop in the course of a story | | 30 |
| 11633716934 | Foil | A character who is used as a contrast to another character; the contrast emphasizes the differences between the two characters, bringing out the distinctive qualities in each. | | 31 |
| 11633716935 | Protagonist | Main character in a story | | 32 |
| 11633716936 | Round character | A character who demonstrates some complexity and who develops or changes in the course of a work | | 33 |
| 11633716937 | Static character | A character who does not change during the story. | | 34 |
| 11633716938 | Stock character | the stereotyped character in which he is immediately known from typical characters in history | | 35 |
| 11633716939 | Methods of Characterization | the methods used to present the personality of a character in a narrative: directly or indirectly | | 36 |
| 11633716940 | Direct characterization | The author directly states a character's traits | | 37 |
| 11633716941 | Indirect characterization | Author subtly reveals the character through actions and interactions. | | 38 |
| 11633716942 | Appearance | The description indicates much about person's interests, wealth, or condition | | 39 |
| 11633716943 | Direct Statements by the character | manner of speaking, what the character says, and dialect, reveal much about a character. | | 40 |
| 11633716944 | Private thoughts of the character | desires, fears, worries and other concerns can be revealed through interior monologue, stream of consciousness, soliloquies, or other indications of inner thought processes | | 41 |
| 11633716945 | Character's actions | The character's choices of behavior reveal much about him or her | | 42 |
| 11633716946 | Effects the character has on other characters | the words and actions of the character affect other characters. Their response indicates certain attitudes toward the character. | | 43 |
| 11633716947 | Motivation | a circumstance or set of circumstances that prompts a character to act in a certain way or that determines the outcome of a situation or work | | 44 |
| 11633716948 | Plot | The structure of a story. The sequence in which the author arranges events in a story. | | 45 |
| 11633716949 | Setting | The time and place of a story | | 46 |
| 11633716950 | Theme | Central idea of a work of literature | | 47 |
| 11633716951 | Tone | Attitude a writer takes toward the audience, a subject, or a character | | 48 |
| 11633716952 | Voice | refers to a writer's unique use of language that allows a reader to "hear" a human personality in his or her writing | | 49 |
| 11633716953 | Exposition | The part of the story, usually near the beginning, in which the characters are introduced, the background is explained, and the setting is described. | | 50 |
| 11633716954 | Suspense | A feeling of uncertainty and curiosity about what will happen next in a story; key element in fiction and drama; "hook" writer uses to keep audience interested | | 51 |
| 11633716955 | rising action | A series of events that builds from the conflict. It begins with the inciting force and ends with the climax | | 52 |
| 11633716956 | Flashback | a scene in a movie, novel, etc., set in a time earlier than the main story | | 53 |
| 11633716957 | flash forward | a shift in the narration that moves to a future time that has not yet occurred in the straight narration | | 54 |
| 11633716958 | Foreshadowing | the use of hints and clues to suggest what will happen later in a plot | | 55 |
| 11633716959 | complication/conflict | that part of a plot in which the entanglement caused by the conflict of opposing forces is developed | | 56 |
| 11633716960 | Conflict | The tension created in the story by the struggle or outcome of the struggle | | 57 |
| 11633716961 | External conflict | A struggle between a character and an outside force | | 58 |
| 11633716962 | Internal conflict | A struggle between opposing needs, desires, or emotions within a single character | | 59 |
| 11633716963 | Turning point | the point in a work in which a very significant change occurs | | 60 |
| 11633716964 | Dialogue | Conversation between characters | | 61 |
| 11633716965 | Climax | the most intense, exciting, or important point of something; a culmination or apex. | | 62 |
| 11633716966 | Epiphany | A moment of sudden revelation or insight | | 63 |
| 11633716967 | Falling action | Events after the climax, leading to the resolution | | 64 |
| 11633716968 | Resolution, Conclusion, Denouement | the ending that follows the climax and leads to the resolution. The final unraveling of a plot's complications. The part of a story or drama which occurs after the climax and which establishes a new norm, a new state of affairs--the way things are going to be from then on | | 65 |
| 11633716969 | Frame Story/Narrative | an introductory narrative within which one or more of the characters proceed to tell a story | | 66 |
| 11633716970 | point of view | the perspective from which a story is told | | 67 |
| 11633716971 | First point of view | a character in the story is actually telling the story himself/herself | | 68 |
| 11633716972 | Third person | Point of view in which the narrator is outside of the story - an observer | | 69 |
| 11633716973 | omniscient | knowing everything; having unlimited awareness or understanding | | 70 |
| 11633716974 | limited third person | The narrator is outside the story, but tells the story from the vantage point of only ONE character; the narrator can enter the mind of this chosen character but cannot tell what any other characters are thinking except by observation | | 71 |
| 11633716975 | objective narrator | the narrator offers no opinions or interpretations of characters thoughts | | 72 |
| 11633716976 | unreliable narrator | a narrator whose account of events appears to be faulty, misleadingly biased, or otherwise distorted | | 73 |
| 11633716977 | interior monologue | The flow of the contents of a character 's mind; a narrative technique that records a character's internal thoughts, memories, and associations | | 74 |
| 11633716978 | stream of consciousness | a style of writing that portrays the inner (often chaotic) workings of a character's mind. | | 75 |
| 11633716979 | In medias res | "In the midst of things." It is applied to the literary technique of opening a story in the middle of the action and then supplying information about the beginning of the action through flashbacks and other devices for exposition | | 76 |
| 11633716980 | deus ex machina | an unexpected power or event saving a seemingly hopeless situation, especially as a contrived plot device in a play or novel. | | 77 |
| 11633716981 | anachronism | something out of the proper time | | 78 |
| 11633716982 | suspension of disbelief | a willingness to suspend one's critical faculties and believe the unbelievable; sacrifice of realism and logic for the sake of enjoyment | | 79 |
| 11633716983 | Magical Realism | a literary or artistic genre in which realistic narrative and naturalistic technique are combined with surreal elements of dream or fantasy | | 80 |
| 11633716984 | Surrealism | An artistic movement that displayed vivid dream worlds and fantastic unreal images | | 81 |
| 11633716985 | distortion | An exaggeration or stretching of the truth to achieve a desired effect | | 82 |
| 11633716986 | Impressionism | a style of art where painters try to catch visual impressions made by color, light, and shadows | | 83 |
| 11633716987 | Allegory | A prolonged metaphor | | 84 |
| 11633716988 | poetic justice | When characters "get what they deserve" in the end of a story | | 85 |
| 11633716989 | picaresque novel | An episodic novel about a roguelike wanderer who lives off his wits | | 86 |
| 11633716990 | Bildungsroman | a novel dealing with one person's formative years or spiritual education | | 87 |
| 11633716991 | epistolary novel | A novel in which the narrative is carried forward by letters written by one or more characters | | 88 |
| 11633716992 | figurative language | Writing or speech that is not intended to carry literal meaning and is usually meant to be imaginative and vivid | | 89 |
| 11646127380 | Allegory | a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one | | 90 |
| 11646127381 | Allusion | A reference to another work of literature, person, or event | | 91 |
| 11646127382 | Ambiguity | The multiple meanings, either intentional or unintentional, of a word, phrase, sentence, or passage | | 92 |
| 11646127383 | anachronism | a thing belonging or appropriate to a period other than that in which it exists, especially a thing that is conspicuously old-fashioned | | 93 |
| 11646127384 | Apostrope | An address to the dead as if living | | 94 |
| 11646127385 | Cliché/Dead metaphor | a phrase that has been overused so that its original impact has been lost. Ex. Old as the hills; It's raining cats and dogs | | 95 |
| 11646127386 | Conceit | A fanciful expression, usually in the form of an extended metaphor or surprising analogy between seemingly dissimilar objects | | 96 |
| 11646127387 | extended metaphor | A metaphor developed at great length, occurring frequently in or throughout a work | | 97 |
| 11646127388 | Hyperbole | exaggerated statements or claims not meant to be taken literally | | 98 |
| 11646127389 | Imagery | Description that appeals to the senses (sight, sound, smell, touch, taste) | | 99 |
| 11646127390 | visual | Descriptions of images that can be seen | | 100 |
| 11646127391 | Auditory | Images that can be heard | | 101 |
| 11646127392 | Tactile | Descriptions of the texture or touch of something | | 102 |
| 11646127393 | Kinethetic | Descriptions of motion | | 103 |
| 11646127394 | olfactory | relating to the sense of smell | | 104 |
| 11646127395 | gustatory | Descriptions of tastes | | 105 |
| 11646127396 | Metaphor | a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable | | 106 |
| 11646127397 | Litote | A figure of speech consisting of an understatement in which an affirmative is expressed by negating its opposite | | 107 |
| 11646127398 | Metonymy | the substitution of the name of an attribute or adjunct for that of the thing meant | | 108 |
| 11646127399 | Motif | A recurring theme, subject or idea | | 109 |
| 11646127400 | montage | A quick succession of images or impressions used to express an idea | | 110 |
| 11646127401 | Oxymoron | A figure of speech that combines opposite or contradictory terms in a brief phrase | | 111 |
| 11646127402 | Paradox | A statement or proposition that seems self-contradictory or absurd but in reality expresses a possible truth | | 112 |
| 11646127403 | Simile | A comparison using "like" or "as" | | 113 |
| 11646127404 | Symbol | A thing that represents or stands for something else, especially a material object representing something abstract | | 114 |
| 11646127405 | Synaesthesia | the use of one kind of sensory experience to describe another | | 115 |
| 11646127406 | Synecdoche | a figure of speech in which a part is made to represent the whole or vice versa | | 116 |
| 11646127407 | Syllepsis | a construction in which one word is used in two different senses ("After he threw the ball, he threw a fit.") | | 117 |
| 11646127408 | Understatement | the opposite of exaggeration. It is a technique for developing irony and/or humor where one writes or says less than intended | | 118 |
| 11646127409 | Monologue | A long speech made by one performer or by one person in a group | | 119 |
| 11646127410 | Monodrama | A play written and performed by one person | | 120 |
| 11646127411 | Soliloquy | A long speech expressing the thoughts of a character alone on stage | | 121 |
| 11646127412 | Aside | a remark or passage by a character in a play that is intended to be heard by the audience but unheard by the other characters in the play | | 122 |
| 11646127413 | dramatic monologue | when a single speaker in literature says something to a silent audience | | 123 |
| 11646127414 | Satire Techniques | Humor, Over-exaggeration, Irony, Sarcasm, and Parody | | 124 |
| 11646127415 | ridicule | to make fun of, to mock | | 125 |
| 11646127416 | Sarcasm | the use of irony to mock or convey contempt | | 126 |
| 11646127417 | Humor | A term used to denote one of the two major types of writing (humor and wit) whose purpose is to evoke laughter | | 127 |
| 11646465335 | Wit | mental sharpness and inventiveness; keen intelligence | | 128 |
| 11646465336 | Cosmic or irony of fate | Some Fate with a grim sense of humor seems cruelly to trick a human being. Cosmic irony clearly exists in poems in which fate or the Fates are personified and seen as hostile | | 129 |
| 11646465337 | dramatic irony | when a reader is aware of something that a character isn't | | 130 |
| 11646465338 | situational irony | An outcome that turns out to be very different from what was expected | | 131 |
| 11646465339 | Socratic Irony | a pose of ignorance assumed in order to entice others into making statements that can then be challenged | | 132 |
| 11646465340 | verbal irony | A figure of speech in which what is said is the opposite of what is meant | | 133 |
| 11646465341 | Absurdity, distortion, and incongruity | In contemporary literature and criticism, a term applied to the sense that human beings, cut off from their roots, live in meaningless isolation in an alien universe. Although the literature of the
absurd employs many of the devices of EXPRESSIONISM and SURREALISM, its philosophical base is a form of EXISTENTIALISM that views human beings as moving from the nothingness from which they came
to the nothingness in which they will end through an existence marked by anguish and absurdity, but they must make their own choices and accept responsibility for those decisions | | 134 |
| 11646465342 | burlesque | A work of literature meant to ridicule a subject; a grotesque imitation | | 135 |
| 11646465343 | Parody | A work that closely imitates the style or content of another with the specific aim of comic effect and/or ridicule | | 136 |
| 11646465344 | Caricature | a picture, description, or imitation of a person or thing in which certain striking characteristics are exaggerated in order to create a comic or grotesque effect | | 137 |
| 11646465345 | Coarse mockery | ridicule that contains vulgar or bawdy references and sexual innuendo. (The conversation between the nurse and Mercutio in Romeo and Juliet) | | 138 |
| 11646465346 | invective | An emotionally violent, verbal denunciation or attack using strong, abusive language. | | 139 |
| 11646465347 | Sardonic statements | bitterly scornful; cynical; expecting the worst; stronger anger than plain sarcasm | | 140 |
| 11646465348 | verisimilitude; realism | a characteristic whereby the setting, circumstances, characters, dialogue, actions, and outcomes in a work are designed to seem true, lifelike, real, plausible, and probable | | 141 |
| 11646465349 | Hamartia (tragic flaw) | A character flaw that causes the downfall or death of a person of high rank/status | | 142 |
| 11646465350 | Hubris | excessive pride or arrogance that results in the downfall of the protagonist of a tragedy | | 143 |
| 11646465351 | Catharis | the purging of emotion at the end of the play which inspires people to live a better life | | 144 |
| 11646465352 | Recognition (anagnorisis) | discovery; the revelation of some fact not known before or some person's true identity (Oedipus discovers that he, himself is the one who killed his father) | | 145 |
| 11646465353 | Reversal (Peripety) | The change in fortune for a protagonist. The reversal of fortune for a protagonist--possibly either a fall, as in tragedy, or a success, as in comedy. An action that turns out to have the opposite effect from the one its doer had intended | | 146 |
| 11646465354 | Chorus | A group of characters in Greek tragedy (and in later forms of drama), who comment on the action of a play without participation in it | | 147 |
| 11646465355 | comedy | light and humorous drama with a happy ending | | 148 |
| 11646465356 | rhetorical techniques | The devices used in effective or persuasive language. The most common examples are contrast, repetitions, paradox, understatement, sarcasm, and rhetorical question | | 149 |
| 11646465357 | reiteration | Repetition of an idea using different words, often for emphasis or other effect. | | 150 |
| 11646465358 | Repetition | Repeated use of sounds, words, or ideas for effect and emphasis | | 151 |
| 11646465359 | Anaphora | repetition of a word or phrase at the beginning of successive phrases, clauses, or lines | | 152 |
| 11646465360 | Polysyndeton | the use, for rhetorical effect, of more conjunctions than is necessary or natural | | 153 |
| 11646465361 | Ellipsis | the omission of a word or phrase which is grammatically necessary but can be deduced from the context | | 154 |
| 11646465362 | Parallelism | similarity of structure in a pair or series of related words, phrases, or clauses | | 155 |
| 11646465363 | rhetorical question | A question asked merely for rhetorical effect and not requiring an answer | | 156 |
| 11646465364 | Ambiguity | The multiple meanings, either intentional or unintentional, of a word, phrase, sentence, or passage | | 157 |
| 11646465365 | Duality | an instance of opposition or contrast between two concepts or two aspects of something | | 158 |
| 11646465366 | Antithesis | A rhetorical opposition or contrast of ideas by means of a grammatical arrangement of words, clauses, or sentences | | 159 |
| 11646465367 | Juxtaposition | Placement of two things closely together to emphasize comparisons or contrasts | | 160 |
| 11646465368 | antecedent | The word, phrase, or clause referred to by a pronoun | | 161 |
| 11646465369 | structure | the arrangement or framework of a sentence, paragraph, or entire work | | 162 |
| 11646465370 | Style | the choices a writer makes; the combination of distinctive features of a literary work | | 163 |
| 11646465371 | Syntax | The arrangement of words and phrases to create well-formed sentences in a language | | 164 |
| 11646465372 | clause | A grammatical unit that contains both a subject and a verb | | 165 |
| 11646465373 | Main/Independent Clause | has a subject and a predicate and can stand alone as a sentence | | 166 |
| 11646465374 | subordinate clause | A clause in a complex sentence that cannot stand alone as a complete sentence and that functions within the sentence as a noun or adjective or adverb | | 167 |
| 11646465375 | phrase | A group of words with a meaning; an expression | | 168 |
| 11646465376 | appositive phrase | A group of words that stands next to a noun or pronoun and renames or adds information or details to it | | 169 |
| 11646465377 | prepositional phrase | A group of words that begins with a preposition and ends with a noun or pronoun. | | 170 |
| 11646465378 | infinitive phrase | Phrases that begin with an infinitive. (to + simple form of the verb) | | 171 |
| 11646465379 | gerund phrase | Begins with noun form of verb ending in -ing, plus any modifiers or complements | | 172 |
| 11646465380 | participial phrase | phrase that contains a participle and its modifiers and functions as an adjective to modify a noun or pronoun | | 173 |
| 11646465381 | Sentence Length | The number of words in a sentence | | 174 |
| 11646465382 | compound sentence | a sentence with two or more coordinate independent clauses, often joined by one or more conjunctions | | 175 |
| 11646465383 | simple sentence | A sentence consisting of one independent clause and no dependent clause | | 176 |
| 11646465384 | complex sentence | A sentence with one independent clause and at least one dependent clause | | 177 |
| 11646465385 | compound-complex sentence | at least one dependent clause and two or more independent clauses | | 178 |
| 11646465386 | fragment | an incomplete sentence; a break in a sentence | | 179 |
| 11646465387 | run-on | two or more sentences that are improperly joined together as one sentence | | 180 |
| 11646465388 | loose or cumulative sentence | makes complete sense if brought to a close before the actual ending | | 181 |
| 11646465389 | periodic sentence | sentence whose main clause is withheld until the end | | 182 |
| 11646465390 | balanced sentence | a sentence in which words, phrases, or clauses are set off against each other to emphasize a contrast | | 183 |
| 11646465391 | natural order of a sentence | involves constructing a sentence so the subject comes before the predicate | | 184 |
| 11646465392 | Inverted Order of a Sentence | predicate comes before the subject | | 185 |
| 11646465393 | parallel structure | the repetition of words or phrases that have similar grammatical structures | | 186 |
| 11646465394 | Epic | A long narrative poem, written in heightened language, which recounts the deeds of a heroic character who embodies the values of a particular society | | 187 |
| 11646465395 | Ballad | A narrative poem written in four-line stanzas, characterized by swift action and narrated in a direct style. | | 188 |
| 11646465396 | pastoral poem | refers to literary works that deal with works that deal with the simple rural life or with escape to a similar place and time | | 189 |
| 11646465397 | idyll | a lyric poem or passage that describes a kind of ideal life or place | | 190 |
| 11646465398 | dramatic monologue | when a single speaker in literature says something to a silent audience | | 191 |
| 11646465399 | lyric poetry | A short poem in which a single speaker expresses personal thoughts and feelings | | 192 |
| 11646465400 | Lyric | A type of poetry that explores the poet's personal interpretation of and feelings about the world. | | 193 |
| 11646465401 | Ode | A lyric poem usually marked by serious, respectful, and exalted feelings toward the subject. | | 194 |
| 11646465402 | Sonnet | a poem of fourteen lines using any of a number of formal rhyme schemes, in English typically having ten syllables per line. | | 195 |
| 11646465403 | English or Shakespearean sonnet | A sonnet rhyming ababcdcdefefgg. Its content or structure ideally parallels the rhyme scheme, falling into three coordinate quatrains and a concluding couplet; but it is often structured, like the Italian sonnet, into octave and sestet, the principal break in thought coming at the end of the eighth line. | | 196 |
| 11646465404 | Italian or Petrarchan Sonnet | A sonnet consisting of an octave rhyming abbaabba and of a sestet using any arrangement of two or three additional rhymes, such as cdcdcd or cdecde | | 197 |
| 11646465405 | sonnet sequence | a series or group of sonnets written to one person or on one theme | | 198 |
| 11646465406 | Companion Poems | Poems designed to complement each other | | 199 |
| 11646465407 | elegy | a sad or mournful poem | | 200 |
| 11646465408 | Cinquain | a five line stanza | | 201 |
| 11646465409 | Villanelle | A 19 line form using only two rhymes and repeating two of the lines according to a set pattern | | 202 |
| 11646465410 | complaint | a lyric poem of lament, regret, and sadness which may explain the speaker's mood, describe its cause, discuss remedies, and appeal for help | | 203 |
| 11646465411 | Rhythm | A regularly recurring sequence of events or actions. | | 204 |
| 11646465412 | Meter | A regular pattern of stressed and unstressed syllables in a line of poetry | | 205 |
| 11646465413 | foot | Portion of line in poetry | | 206 |
| 11646465414 | iambus | a metrical foot consisting of one unstressed syllable followed by one stressed syllable | | 207 |
| 11646465415 | Trochee | A metrical foot consisting of one accented syllable followed by one unaccented syllable | | 208 |
| 11646465416 | dactyl | accented, unaccented, unaccented | | 209 |
| 11646465417 | Spondee | stressed, stressed | | 210 |
| 11646465418 | Pyrric foot | Two unstressed syllables; this type of foot is rare and is found in between other types of feet | | 211 |
| 11646465419 | Scansion | the action of scanning a line of verse to determine its rhythm | | 212 |
| 11646781822 | metrical variations | call attention to some of the sounds because they depart from what is regular | | 213 |
| 11646781823 | Caesura | A natural pause or break in a line of poetry, usually near the middle of the line. | | 214 |
| 11646781824 | end-stopped line | A line that ends with a natural speech pause, usually marked by punctuation | | 215 |
| 11646781825 | Enjambment | the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza | | 216 |
| 11646781826 | sprung rhythm | measured by counting only the accented syllables and by varying the number of unaccented syllables | | 217 |
| 11646781827 | Rhyme | Repetition of accented vowel sounds and all sounds following them in words that are close together in a poem | | 218 |
| 11646781828 | end rhyme | A word at the end of one line rhymes with a word at the end of another line | | 219 |
| 11646781829 | internal rhyme | A word inside a line rhymes with another word on the same line | | 220 |
| 11646781830 | exact rhyme | Repetition of accented vowel sounds and all sounds following them in words that are close together in a poem | | 221 |
| 11646781831 | slant rhyme | rhyme in which the vowel sounds are nearly, but not exactly the same (i.e. the words "stress" and "kiss"); sometimes called half-rhyme, near rhyme, or partial rhyme | | 222 |
| 11646781832 | rhyme scheme | A regular pattern of rhyming words in a poem | | 223 |
| 11646781833 | masculine rhyme | A rhyme ending on the final stressed syllable | | 224 |
| 11646781834 | feminine rhyme | lines rhymed by their final two syllables | | 225 |
| 11646781835 | Assonance | Repetition of vowel sounds | | 226 |
| 11646781836 | Alliteration | Repetition of initial consonant sounds | | 227 |
| 11646781837 | Consonance | Repetition of a consonant sound within two or more words in close proximity | | 228 |
| 11646781838 | cacophony | A harsh, discordant mixture of sounds | | 229 |
| 11646781839 | euphony | pleasant, harmonious sound | | 230 |
| 11646781840 | refrain | A line or set of lines repeated several times over the course of a poem. | | 231 |
| 11646781841 | Onomatopoeia | A word that imitates the sound it represents. | | 232 |
| 11646781842 | verse | A single line of poetry | | 233 |
| 11646781843 | Stanza | A group of lines in a poem | | 234 |
| 11646781844 | canto | A main division of a long poem | | 235 |
| 11646781845 | book | a major division of a long poem, usually an epic; books can be divided into cantos and cantos into stanzas | | 236 |
| 11646781846 | blank verse | unrhymed iambic pentameter | | 237 |
| 11646781847 | Alexandrine | a line of iambic hexameter | | 238 |
| 11646781848 | free verse | Poetry that does not have a regular meter or rhyme scheme | | 239 |
| 11646781849 | Couplet | Two consecutive lines of poetry that rhyme | | 240 |
| 11646781850 | Tercet | three line stanza | | 241 |
| 11646781851 | Quatrain | A four line stanza | | 242 |
| 11646781852 | Sestet | six line stanza | | 243 |
| 11646781853 | Octave | 8 line stanza | | 244 |
| 11646781854 | Heptastich | seven line stanza | | 245 |
| 11646781855 | rhyme royal | A seven-line stanza of iambic pentameter rhymed ababbcc, used by Chaucer and other medieval poets. | | 246 |
| 11646781856 | tersa rima | 3 line stanza with the following rhyme scheme: aba bcb cdc ded...etc. | | 247 |
| 11646781857 | ottava rima | an eight-line rhyming stanza of a poem | | 248 |
| 11646781858 | Prosody | the patterns of rhythm and sound used in poetry | | 249 |
| 11646781859 | metaphysical poetry | The work of poets, particularly those of the seventeenth century, that uses elaborate conceits, is highly intellectual, and expresses the complexities of love and life | | 250 |
| 11646781860 | argument | a statement of the meaning or main point of a literary work | | 251 |
| 11646781861 | cause and effect | The reason something happens and the result of it happening. | | 252 |
| 11646781862 | Classification and Division | the dividing and grouping of things by classes or categories | | 253 |
| 11646781863 | comparison and contrast | A mode of discourse in which two or more things are compared and contrasted. Comparison often refers to similarities, contrast to differences. | | 254 |
| 11646781864 | definition | A statement that gives the meaning of a term. | | 255 |
| 11646781865 | description | a spoken or written summary of observations | | 256 |
| 11646781866 | slice of life | A type of commercial consisting of a dramatization of a real-life situation in which the product is tried and becomes the solution to a problem. | | 257 |
| 11646781867 | local color | a term applied to fiction or poetry which tends to place special emphasis on a particular setting, including its customs, clothing, dialect and landscape. | | 258 |
| 11646781868 | Chiaroscuro | the treatment of light and shade in drawing and painting | | 259 |
| 11646781869 | Exposition | a comprehensive description and explanation of an idea or theory. | | 260 |
| 11646781870 | Narration | the telling of a story in fiction, nonfiction, poetry, or drama; one of the four modes of discourse | | 261 |
| 11646781871 | Process Analysis | A method of paragraph or essay development by which a writer explains step by step how something is done or how to do something. | | 262 |
| 11646781872 | Style Analysis | the author's use of style, language, and rhetorical strategies | | 263 |
| 11646781873 | Synthesis | An argument which writer argued his point using various sources | | 264 |
| 11646781874 | purpose | One's intention or objective in a speech or piece of writing. | | 265 |
| 11646781875 | audience | One's listener or readership; those to whom a speech or piece of writing is addressed. | | 266 |
| 11646781876 | Logos | Appeal to logic | | 267 |
| 11646781877 | Ethos | credibility | | 268 |
| 11646781878 | Pathos | Appeal to emotion | | 269 |
| 11646781879 | logical reasoning | The process of arriving at a conclusion through a series of ordered steps | | 270 |
| 11646781880 | inductive reasoning | A type of logic in which generalizations are based on a large number of specific observations. | | 271 |
| 11646781881 | deductive reasoning | reasoning in which a conclusion is reached by stating a general principle and then applying that principle to a specific case (The sun rises every morning; therefore, the sun will rise on Tuesday morning.) | | 272 |
| 11646781882 | Syllogism | A form of deductive reasoning consisting of a major premise, a minor premise, and a conclusion. | | 273 |
| 11646781883 | Analogy | A comparison of two different things that are similar in some way | | 274 |
| 11646781884 | logical fallacy | a mistake in reasoning | | 275 |
| 11646781885 | ad hominem | a fallacy that attacks the person rather than dealing with the real issue in dispute | | 276 |
| 11646781886 | Ad Misericordiam | appeal to pity | | 277 |
| 11646781887 | Ad Vericundiam | appeal to authority | | 278 |
| 11646781888 | circular reasoning | a fallacy in which the writer repeats the claim as a way to provide evidence | | 279 |
| 11646781889 | faulty dilemma | the major premise presents a choice that does not exhaust the possibilities | | 280 |
| 11646781890 | False Analogy | When two cases are not sufficiently parallel to lead readers to accept a claim of connection between them. | | 281 |
| 11646781891 | Guilt by Association | calls someone's character into question by examining the character of that person's associates | | 282 |
| 11646781892 | Hasty Generalization | A fallacy in which a faulty conclusion is reached because of inadequate evidence. | | 283 |
| 11646781893 | Hypothesis Contrary to Fact | an argument; writer begins with a premise that is not true and then draws conclusions therefrom (starts with fantasy_ | | 284 |
| 11646781894 | non sequitur | something that does not logically follow | | 285 |
| 11646781895 | pedantry | (n.) a pretentious display of knowledge; overly rigid attention to rules and details | | 286 |
| 11646781896 | Red Herring | A fallacy that introduces an irrelevant issue to divert attention from the subject under discussion | | 287 |
| 11646781897 | slanted language | By choosing words that carry strong positive or negative connotations or feelings, a person can distract the audience, leading them away from the valid arguments being made. A philosopher once illustrated the bias involved in slanted language when he compared three synonyms for the word stubborn: "I am firm. You are obstinate. He is pigheaded | | 288 |
| 11646781898 | Slippery Slope | A fallacy that assumes that taking a first step will lead to subsequent steps that cannot be prevented | | 289 |
| 11646781899 | stereotype | A generalized belief about a group of people | | 290 |
| 11646781900 | Straw Man Argument | consists of an oversimplification of an opponent's argument to make it easier to attack | | 291 |
| 11646781901 | Propaganda Techniques | Propaganda techniques and persuasive tactics are used to influence people to believe, buy or do something. Students should be able to identify and comprehend the propaganda techniques and persuasive tactics listed below. | | 292 |
| 11646781902 | loaded words | Words which are slanted for or against the subject | | 293 |
| 11646781903 | Bandwagon | A fallacy which assumes that because something is popular, it is therefore good, correct, or desirable | | 294 |
| 11646781904 | Card Stacking | propaganda technique involving the use of showing one-sided information | | 295 |
| 11646781905 | Testimonial | attempts to persuade the reader by using a famous person to endorse a product or idea | | 296 |
| 11646781906 | name calling | the use of language to defame, demean, or degrade individuals or groups | | 297 |
| 11646781907 | Glittering Generalities | propaganda technique using short phrases or words to promote positive feelings or emotions | | 298 |
| 11646781908 | plain folks appeal | implies that ordinary people are on "our side" or that a candidate is like an ordinary person | | 299 |
| 11646781909 | Snob Appeal | The suggestion that the use of the product makes the customer part of an elite group with a luxurious and glamorous lifestyle. | | 300 |
| 11646781910 | Old English Period | (450-1066 AD). Example: Beowulf. | | 301 |
| 11646781911 | Anglo-Norman Period | (1100-1350) Magna Charta, Dante's Divine Comedy | | 302 |
| 11646781912 | Middle English Period | (1066-1550). Examples: Chaucer's Canterbury Tales, More's Utopia, Malory's Le Morte d'Arthur, and the morality play Everyman. | | 303 |
| 11646781913 | Rennaisance classicism | A movement or tendency in art, music, literature in renaissance period | | 304 |
| 11646781914 | Neoclassicism | the revival of a classical style or treatment in art, literature, architecture, or music. | | 305 |
| 11646781915 | Romanticism | 19th century artistic movement that appealed to emotion rather than reason | | 306 |
| 11646781916 | Transcendentalism | A philosophy pioneered by Ralph Waldo Emerson in the 1830's and 1840's, in which each person has direct communication with God and Nature, and there is no need for organized churches. It incorporated the ideas that mind goes beyond matter, intuition is valuable, that each soul is part of the Great Spirit, and each person is part of a reality where only the invisible is truly real. Promoted individualism, self-reliance, and freedom from social constraints, and emphasized emotions. | | 307 |
| 11646781917 | Realsim | showed people in an emotional and realistic way | | 308 |
| 11646781918 | Naturalism | a style and theory of representation based on the accurate depiction of detail. | | 309 |
| 11646781919 | Existentialism | A philosophy based on the idea that people give meaning to their lives through their choices and actions | | 310 |
| 11646781920 | Christian Existentialism | individuals define their own existence but religion can provide unifying center | | 311 |
| 11646781921 | Atheistic Existentialism | Sees life as absurd, but also sees human beings as totally free to make their own meaning in the face of this absurdity | | 312 |
| 11646782477 | Modernism | A cultural movement embracing human empowerment and rejecting traditionalism as outdated. Rationality, industry, and technology were cornerstones of progress and human achievement. | | 313 |
| 11646782478 | Post Modernism | genre of art and literature and especially architecture in reaction against principles and practices of established modernism | | 314 |
