AP Notes, Outlines, Study Guides, Vocabulary, Practice Exams and more!
| 8791393430 | ambivalent | uncertain or unable to decide about what course to follow | 0 | |
| 8791393431 | candor | quality of being honest or straightforward | 1 | |
| 8791393432 | collusion | secret agreement | 2 | |
| 8791393433 | Guise | Artful or simulated semblance | 3 | |
| 8791393434 | Equanimity (n) | Steadiness of mind under stress | 4 | |
| 8791393435 | purloin (v) | Make off with belongings of other | 5 | |
| 8791393436 | rumination | calm, lengthy, intent consideration | 6 |
| 6323208106 | Analysis | The identification, explication, and evaluation of parts synthesized in order to arrive at some holistic interpretation. | 0 | |
| 6323213601 | Rhetoric | Use of language in communications | 1 | |
| 6323215266 | SOAPS | Speaker, Occasion, Audience, Purpose, and Subject | 2 | |
| 6323219017 | Context | Time, place, and what's going on | 3 | |
| 6323223634 | Text | Essays, letter, sermon, etc. | 4 | |
| 6323226306 | Purpose | Goal that writer wants to achieve | 5 | |
| 6323229239 | Tools of Persuasion | Aristirilian Appeals, Ethos, Pathos, and Logos | 6 | |
| 6323236697 | Ethos | Credibility of the speaker | 7 | |
| 6323237523 | Pathos | Emotion evoked in the audience | 8 | |
| 6323238743 | Logos | The presentation of info, logic, the argument itself | 9 | |
| 6323240702 | Euphemism | A polite word or expression that you use instead of a more direct one to avoid shocking or upsetting someone | 10 | |
| 6323244477 | Absolute | Language on the extreme end of the spectrum | 11 | |
| 6323246708 | Hyperbole | Extreme exaggeration | 12 | |
| 6323248098 | Rhetorical Question | Questions asked to make a point rather than to elicit an answer | 13 | |
| 6323250735 | Contrast | The presentation of two unlike elements whose purpose is to reveal distinctive characteristics of each | 14 | |
| 6323255897 | Ancedote | A short narrative detailing particulars of an interesting episode or event | 15 | |
| 6323259079 | Diction | The particular words an author uses in a text | 16 | |
| 6323260601 | Simile | A crucial figure of speech in an argument when what is unknown is compared to what is known using the word "like", "as", or "than" in order to better perceive its importance | 17 | |
| 6323267626 | Metaphor | A direct comparison between two or more things, one is present and one no,t in order to reveal something about the present subject | 18 | |
| 6323271992 | Loaded Language | Language with strong connotation | 19 | |
| 6323272627 | Juxtaposition | Placing two ideas in close proximity for the purpose of comparison contrast | 20 | |
| 6323275328 | Parallelism (Parallel Structure) | The use of components in a sentence that are grammatically the same; or similar in their construction, sound, meaning or meter. | 21 | |
| 6323281364 | Volta | A shift/turn in the text of thought or emotion | 22 | |
| 6323284668 | Simple Sentence | Contains one Independent Clause and no Dependent Clause(s) | 23 | |
| 6323286551 | Compound | Contains two or more independent clauses, but no dependent clause(s) | 24 | |
| 6323289002 | Complex | Contains one independent clause and one or more dependent clauses | 25 | |
| 6323293402 | Compound Sentence | Contains two or more independent clauses and one or more dependent clauses | 26 | |
| 6323299600 | Anaphora | Word or phrase is repeated at the beginning of the following clauses or sentences | 27 | |
| 6323304888 | Episirophe (epiphora) | When a certain phrase or word is repeated at the end of successive sentences or clauses | 28 | |
| 6323307639 | Telegraphic | A short sentence in context | 29 | |
| 6323308777 | Exclamatory | Expresses excitement or emotion | 30 | |
| 6323310371 | Declarative Sentence | Sentence that states a fact or an argument and ends with a period | 31 | |
| 6323312898 | Imperative Sentence | A command or a polite request | 32 | |
| 6323314989 | Interrogative | A question | 33 | |
| 6323315782 | Allusion | A brief and indirect reference to a person, place, thing, or idea of historical, cultural, literary or political significance | 34 | |
| 6323319490 | Concession | One acknowledges a point made by one's opponent | 35 | |
| 6323322962 | Refutation | Negation of an argument, opinion, testimony, doctrine, or theory, through contradicting evidence | 36 | |
| 6323325649 | Motif | A pattern that help to explain the central idea of text | 37 | |
| 6323327176 | Ultimate Purpose | At the end, the active result desired by the speaker | 38 | |
| 6323329103 | Baby Purposes | To build up the Ultimate Purpose | 39 | |
| 6323331319 | Penultimate Purpose | Linkage between the device(s)/effect and their purpose | 40 | |
| 6323334035 | Aphorism | A statement of truth or opinion expresses in a concise and witty manner | 41 | |
| 6323337076 | Incongruity | To present things which are out of place or absurd in relation to their surroundings | 42 | |
| 6323340078 | Reversal | To present the opposite of the normal order | 43 | |
| 6323341197 | Parody | To imitate the techniques and/or style of some person, place, or thing | 44 | |
| 6323345089 | Irony | The recognition of a reality different form appearance | 45 | |
| 6323348693 | Verbal Irony | A figure of speech in which the actual intents expressed in words that carry the opposite meaning | 46 | |
| 6323350405 | Sarcasm | An offensive expression of strong disapproval | 47 | |
| 6323353041 | Understatement | A figure of speech in which the literal sense of what is said false detectably short of the magnitude of what is being expressed, which creates emphasis | 48 | |
| 6323360811 | Double Entendre | A literary device that can be defined as a phrase or a figure of speech that might have multiple senses, interpretations or two different meanings or could be understood in two different ways | 49 | |
| 6323364705 | Paradox | A statement that appears to be self-contradictory or silly but may include a latent truth | 50 | |
| 6323369686 | Oxymoron | A figure of speech in which two opposites ideas are joined to create an effect | 51 | |
| 6323377411 | Polysyndeton | A stylistic device in which several coordinating conjunctions are used in succession in order to achieve an artistic effect | 52 | |
| 6323378477 | Asyndeton | The omission or absence of a conjunction between parts of a sentence | 53 | |
| 6323380322 | Antithesis | A contrast or opposition between two things. | 54 |
| 10304984564 | Rhetoric | the art of effective or persuasive speaking or writing, especially with the use of figures of speech and other compositional techniques. (The very act of defending has itself been a central part of rhetoric). |  | 0 |
| 10304984565 | Bombastic | High sounding but with little meaning; inflated;grandiloquent. |  | 1 |
| 10304984566 | Ethos | Appeal based on the character of speaker. Meaning convincing someone of the character or credibility of the persuader (speaker). |  | 2 |
| 10304984567 | Logos | An appeal to logic or reason. For example scholarly documents. |  | 3 |
| 10304984568 | Pathos | Appeal on emotion. The quality that evokes pity or sadness. |  | 4 |
| 10304984569 | Capricious | Impulsive; unpredictable. Sudden and unaccountable changes of mood or behavior. |  | 5 |
| 10304984570 | Tone | Writer's attitude, mood or moral outlook toward the subject and/or the readers. |  | 6 |
| 10304984571 | Appeal | the power of arousing a sympathetic response, to arouse a sympathetic response. |  | 7 |
| 10304984572 | Argument | Discourse intended to persuade; process of reasoning; exchange of diverging/ opposite views. |  | 8 |
| 10304984573 | Colloquialism (Colloquial) | a word or phrase that is not formal or literary. It is still used in literature to provide a sense of actual conversation and the use of pronunciation, grammar, and vocabulary of everyday speech. |  | 9 |
| 10304984574 | Connotation | and idea or feeling that a word evokes in addition to its literal or primary meaning. Words imply or suggest qualities, attributes, and characteristics. |  | 10 |
| 10304984575 | Apathy | lack of interest, enthusiasm or concern. No emotion |  | 11 |
| 10304984576 | Dialect | A variety of language confined to a region or group, manner or means of expressing oneself. |  | 12 |
| 10304984577 | Understatement | Statement which says less than is really meant. Opposite of hyperbole. Made smaller, worse, or less important than really is. Minimizing. |  | 13 |
| 10304984578 | Hyperbole | Deliberate and obvious exaggeration for effect. |  | 14 |
| 10304984579 | Anecdote | a short and amusing or interesting story about a real person or incident. | 15 | |
| 10304984580 | Condescending | Having or feeling superior. patronizing or assuming superiority. |  | 16 |
| 10304984581 | Voice | An authors distinctive literary style, basic vision and general attitude toward the world. Revealed through the use of Syntax, Diction, Punctuation, Characterization, and Dialogue. |  | 17 |
| 10304984582 | Syntax | Sentence construction |  | 18 |
| 10304984583 | Diction | Author's choice of words. Distinctive vocabulary. |  | 19 |
| 10304984584 | Assertion | A confident and forceful statement of fact or belief. A declaration that's made em pathetically in an argument as it to be understood as a statement of fact. |  | 20 |
| 10304984585 | Cogent | (of an argument or case) clear, logical, and convincing. |  | 21 |
| 10304984586 | Coherent | (of an argument, theory, or policy) logical and consistent |  | 22 |
| 10304984587 | Cohesive | characterized by or causing cohesion (act or state of being uniting, cohering, or sticking together). |  | 23 |
| 10304984588 | Didactic | intended to teach, particularly in having moral instruction as an ulterior motive. |  | 24 |
| 10304984589 | Discourse | written or spoken communication or debate. (verb) speak or write authoritatively about a topic. |  | 25 |
| 10304984590 | Eloquence | fluent or persuasive speaking or writing. |  | 26 |
| 10304984591 | Fluid | able to flow easily. | 27 | |
| 10304984592 | implication | the conclusion that can be drawn from something, although it is not explicitly stated. |  | 28 |
| 10304984593 | lucid | expressed clearly; easy to understand |  | 29 |
| 10304984595 | Arbiter | a person who settles a dispute or has ultimate authority in a matter |  | 30 |
| 10304984596 | Biased | unfairly prejudiced for or against something or someone. |  | 31 |
| 10304984597 | Exculpate | show or declare that (someone) is not guilty of wrongdoing |  | 32 |
| 10304984598 | Impartial | treating all rivals or disputants equally; fair and just. |  | 33 |
| 10304984599 | Incontrovertible | not able to be denied or disputed. |  | 34 |
| 10304984600 | Integrity | the quality of being honest and having strong moral principles; moral uprightness. | 35 | |
| 10304984601 | Objectivity | the quality of being objective; justice; neutrality | 36 | |
| 10304984602 | Plausible | (of an argument or statement) seeming reasonable or probable. | 37 | |
| 10304984603 | Substantiated | provide evidence to support or prove that truth of. |  | 38 |
| 10304984604 | vindicated | clear (something) of blame or suspicion. |  | 39 |
| 10304984605 | Condescending | Having or feeling superior. patronizing or assuming superiority. | 40 | |
| 10304984606 | Contemptuous | showing contempt; scornful |  | 41 |
| 10304984607 | Despotic | of, relating to, or characteristics of a despot (ruler with total power; usually unfair) |  | 42 |
| 10304984608 | Dictatorial | of or typical of a ruler with total control |  | 43 |
| 10304984609 | Disdain | the feeling that someone or something is unworthy of one's consideration or respect; contempt. |  | 44 |
| 10304984610 | Haughty | arrogantly superior and disdainful. |  | 45 |
| 10304984611 | Imperious | assuming power or authority without justification; arrogant and domineering. |  | 46 |
| 10304984612 | Patronizing | treat with an apparent kindness that betrays a feeling of superiority. |  | 47 |
| 10304984613 | Listless | lacking energy or enthusiasm. |  | 48 |
| 10304984614 | Melancholy | a feeling of pensive sadness, typically with no obvious cause. |  | 49 |
| 10304984615 | Torpor | a state of physical or mental inactivity |  | 50 |
| 10304984616 | alliance | a relationship based on an affinity in interests, nature, or qualities. |  | 51 |
| 10304984617 | disparity | a great difference, imbalance. |  | 52 |
| 10304984618 | impinge | have an affect or impact, especially a negative one. Influence. | 53 | |
| 10304984619 | Paradox | a state or proposition that, despite reasoning, leads to a conclusion that seems senseless, logically unacceptable, self-contradictory. |  | 54 |
| 10304984620 | allusion | an expression to call something to mind without mentioning it exactly; an indirect or passing reference. | 55 | |
| 10304984621 | parallelism | the act of being parallel or corresponding in some way. |  | 56 |
| 10304984622 | indolent | wanting to avoid activity or exertion; lazy. |  | 57 |
| 10304984623 | insipid. | lacking flavor, vigor or interest. |  | 58 |
| 10304984624 | lament | a passionate expression or grief or sorrow. |  | 59 |
| 10304984625 | Sanction | a threatening penalty for disobeying a law or rule |  | 60 |
| 10304984626 | servile | having or showing an excessive willingness to serve or please others. |  | 61 |
| 10304984627 | suppressed | forcibly to an end to. |  | 62 |
| 10304984628 | Embellish | make (something) more attractive by the addition of decorative details or features. |  | 63 |
| 10304984629 | florid | having a red or flushed complexion | 64 | |
| 10304984630 | opulent | ostentatiously rich and luxurious or lavish |  | 65 |
| 10304984631 | ornate | made in an intricate shape or decorated with complex patterns. |  | 66 |
| 10304984632 | ostentatious | characterized by vulgar or pretentious display; designed to impress or attract notice. |  | 67 |
| 10304984633 | poignant | evoking a keen sense or sadness or regret. |  | 68 |
| 10304984634 | Ebullience | the quality of being cheerful and full of energy; exuberance. |  | 69 |
| 10304984635 | effusive | expressing feelings of gratitude, pleasure, or approval in an unrestrained or heartfelt manner. | 70 | |
| 10304984636 | egregious | outstandingly bad; shocking. | 71 | |
| 10304984637 | frenetic | fast and energetic in a rather wild and uncontrolled way. |  | 72 |
| 10304984638 | gratuitous | uncalled for; lacking good reason; unwarranted |  | 73 |
| 10304984639 | flagrant | (of something considered wrong or immoral) conspicuously or obviously offensive | 74 | |
| 10304984640 | superfluous | unnecessary, especially through being more than enough. |  | 75 |
| 10304984641 | convoluted | extremely complex and difficult to follow (especially or a story, sentence, or argument). | 76 | |
| 10304984642 | cryptic | having a meaning that is mysterious or obscure |  | 77 |
| 10304984643 | Obscure | uncertain; not discovered or know about. |  | 78 |
| 10304984644 | futile | incapable of producing any useful result; pointless. |  | 79 |
| 10304984645 | impede | delay or prevent by obstructing them; hinder. |  | 80 |
| 10304984646 | quandary | a state of perplexity or uncertainty over what what to do in a difficult situation. |  | 81 |
| 10304984647 | alleviate | make (suffering or a problem) less severe. |  | 82 |
| 10304984648 | asylum | the protection granted by a nation to someone who has left their native country as a political refugee. ( or it can be a mental hospital). |  | 83 |
| 10304984649 | auspicious | conductive to success; favorable. |  | 84 |
| 10304984650 | benevolent | well meaning and kindly |  | 85 |
| 10304984651 | benign | gentle, kindly. |  | 86 |
| 10304984652 | Mollify | appease the anger or anxiety of (someone) |  | 87 |
| 10304984653 | reclamation | reclaiming; reformation, recovery. (or it can be land obtained from water) | 88 | |
| 10304984654 | Sanction | Approval or permission for an action |  | 89 |
| 10304984655 | Dubious | Not to be relied upon; suspect (hesitating or doubting) |  | 90 |
| 10304984656 | Fabricated | invent or concoct (something), typically with deceitful intent | 91 | |
| 10304984657 | Hypocrisy | the practice of claiming to have moral standards or beliefs to which one's own behavior does not conform; pretense |  | 92 |
| 10304984658 | Slander | make false and damaging statements about (someone). |  | 93 |
| 10304984659 | spurious | not being what it purports to be; false or fake |  | 94 |
| 10304984660 | Astute | having or showing an ability to accurately assess situations or people and turn this to one's advantage |  | 95 |
| 10304984661 | clandestine | operation is an intelligence or millitary operation carried out in such a way that the operation goes unnoticed by the general population |  | 96 |
| 10304984662 | disingenuous | not candid or sincere, typically by pretending that one knows less about something than one really does. |  | 97 |
| 10304984663 | ruse | an action intended to deceive someone; a trick |  | 98 |
| 10304984664 | stratagem | a plan or scheme, especially one used to outwit an opponent or achieve an end |  | 99 |
| 10304984665 | surreptitious | kept secret, especially because it would not be approved of. |  | 100 |
| 10304984666 | wary | feeling or showing caution about possible dangers or problems |  | 101 |
| 10304984667 | wily | skilled at gaining an advantage, especially deceitfully. |  | 102 |
| 10304984668 | inconsequential | not important or significant |  | 103 |
| 10304984669 | superficial | existing or occurring at or on the surface. (appearing to be true or real only until examined more closely). | 104 | |
| 10304984670 | tenuous | very weak or slight >( small in degree). |  | 105 |
| 10304984671 | trivial | of little value or importance |  | 106 |
| 10304984672 | coup | a sudden, violent, and illegal seizure of power from a government. |  | 107 |
| 10304984673 | Ambiguous | (of language) open to more than one interpretation; having a double meaning. |  | 108 |
| 10304984674 | ambivalent | having mixed feelings or contradictory ideas about something or someone. |  | 109 |
| 10304984675 | apathetic | showing or feeling no interest, enthusiasm, or concern. |  | 110 |
| 10304984676 | Arbitrary | based on random choice or personal whim, rather than any reason or system. | 111 | |
| 10304984677 | capricious | given to sudden and unaccountable changes of mood or behavior | | 112 |
| 10304984678 | equivocate | use ambiguous language so as to conceal the truth or avoid committing oneself. |  | 113 |
| 10304984679 | indifferent | having no particular interest or sympathy; unconcerned. | | 114 |
| 10304984680 | whimsical | playfully quaint or fanciful, especially in an appealing and amusing way |  | 115 |
| 10304984681 | assiduous | showing great care and perseverance |  | 116 |
| 10304984682 | compelling | evoking interest, attention, or admiration in a powerfully irresistible way |  | 117 |
| 10304984683 | diligent | having or showing care and conscientiousness in one's work or duties |  | 118 |
| 10304984684 | dogged | having or showing tenacity and grim persistence. |  | 119 |
| 10304984685 | endure | suffer (something painful or difficult) patiently |  | 120 |
| 10304984686 | intrepid | fearless; adventurous (often used for rhetorical or humorous effect) |  | 121 |
| 10304984687 | maverick | an unorthodox or independent-minded person |  | 122 |
| 10304984688 | obdurate | stubbornly refusing to change one's opinion or course of action |  | 123 |
| 10304984689 | obstinate | stubbornly refusing to change one's opinion or chosen course of action, despite attempts to persuade one to do so |  | 124 |
| 10304984690 | proliferate | increase rapidly in numbers; multiply |  | 125 |
| 10304984691 | tenacity | the quality or fact of being able to grip something firmly; grip. |  | 126 |
| 10304984692 | vitality | the state of being strong and active; energy | 127 | |
| 10304984693 | assimilation | the process by which a person or a group's language and/or culture come to resemble those of another group |  | 128 |
| 10304984694 | consensus | general agreement. |  | 129 |
| 10304984695 | context | the set of facts or circumstances that surround a situation. | 130 | |
| 10304984696 | derived | obtain something from (a specified source) | 131 | |
| 10304984697 | incumbent | necessary for (someone) as a duty or responsibility. |  | 132 |
| 10304984698 | inevitable | certain to happen; unavoidable |  | 133 |
| 10304984699 | malleable | easily influenced; pliable |  | 134 |
| 10304984700 | subdue | overcome, quieten, or bring under control (a feeling or person) |  | 135 |
| 10304984701 | Inoculate | medical : to give (a person or animal) a weakened form of a disease in order to prevent infection by the disease | 136 | |
| 10304984702 | Lurid | : causing shock or disgust : involving sex or violence in a way that is meant to be shocking : shining or glowing with a bright and unpleasant color | 137 | |
| 10304984703 | Putrefying | to be slowly destroyed by natural processes : to rot and become putrid | 138 | |
| 10304984704 | Somnolent | 1 : of a kind likely to induce sleep 2 a : inclined to or heavy with sleep : drowsy | 139 | |
| 10304984705 | Dour | serious and unfriendly : silent and gloomy | 140 | |
| 10304984706 | Errant | serious and unfriendly : silent and gloomy | 141 | |
| 10304984707 | Bewildered | 1 : to cause to lose one's bearings 2 : to perplex or confuse especially by a complexity, variety, or multitude of objects or considerations | 142 | |
| 10304984708 | Astroturfed | —used for an artificial surface that resembles grass | 143 | |
| 10304984709 | Geriatric | An old person y | 144 | |
| 10304984710 | Tromped | 1 : tramp 1
2 : to step hard : stamp | 145 | |
| 10304984711 | Connoisseur | : a person who knows a lot about something (such as art, wine, food, etc.) : an expert in a particular subject | 146 | |
| 10304984712 | Attesting | to show, prove, or state that something is true or real | 147 | |
| 10304984713 | Soporific | : causing a person to become tired and ready to fall asleep | 148 |
| 9791490847 | Active Voice | the subject of the sentence performs the verb | 0 | |
| 9791490848 | Anecdote | a brief, revealing story about an individual person or incident | 1 | |
| 9791490849 | Didactic | describes fiction, nonfiction, or poetry that teaches a lesson or moral | 2 | |
| 9791490850 | Argument | a piece of reasoning with one or more premises and a conlusion | 3 | |
| 9791490851 | Premises | statements offered as reasons to support a conclusion | 4 | |
| 9791490852 | Unstated Premises | unexpressed reasons that support a conclusion; can be problematic if not easily assumed | 5 | |
| 9791490853 | Conclusion | the main point being made; the end result of the argument | 6 | |
| 9791490854 | Concession | an acceptance of at least part of an opposing argument | 7 | |
| 9791490855 | Conditional Statement | an if-then statement that consists of two parts, an antecedent and a consequent; if _____, then _____ | 8 | |
| 9791490856 | Thesis | the sentence or groups of sentences that directly express the author's opinion, purpose, meaning, or proposition | 9 | |
| 9791490857 | Inductive Argument | argument in which premises are intended to only be so strong that, if true, it is unlikely that the conclusion is false | 10 | |
| 9791490858 | Deductive Argument | argument in which the premises are intended to be so strong that, if true, it would be impossible for the conclusion to be false | 11 | |
| 9791490859 | Valid Argument | argument in which the conclusion logically follows the premises | 12 | |
| 9791490860 | Sound Argument | argument in which both the premises are true and the conclusion logically follows the premises | 13 | |
| 9791490861 | Contradiction | occurs when one asserts two mutually exclusive or incompatible statements | 14 | |
| 9791490862 | Counterexample | an example that opposes a generalization, thus proving it false | 15 |
| 5077150432 | Abhor | To regard with extreme repugnance, to detest utterly | 0 | |
| 5077150433 | Accolade | Praise, an award | 1 | |
| 5077150434 | Ascetic | One who leads a life of self denial and contemplation, absent of luxury | 2 | |
| 5077150435 | Bequeath | To hand down, to give or to leave in a will | 3 | |
| 5077150436 | Charlatan | One who claims to know something he does not, a quack | 4 | |
| 5077150437 | Conflagration | A large fire | 5 | |
| 5077150438 | Dearth | A lack, a scarcity | 6 | |
| 5077150439 | Diffidence | Shyness, reserve, unassertiveness | 7 | |
| 5077150440 | Effervescent | Showing high spirits | 8 | |
| 5077150441 | Ethereal | Heavenly, unusually delicate, light | 9 | |
| 5077150442 | Expunge | To remove, to erase | 10 | |
| 5077150443 | Guile | Deceitfulness, duplicity | 11 | |
| 5077150444 | Implausible | Not believable | 12 | |
| 5077150445 | Incongruity | Nonconformity, disagreement, incompatibility | 13 | |
| 5077150446 | Insularity | Qualities of an island, narrow-mindedness of opinion | 14 | |
| 5077150447 | Morose | Being sullen or gloomy | 15 | |
| 5077150448 | Placate | To appease or to pacify by making concessions | 16 | |
| 5077150449 | Poignant | Piercing, incisive, and keen | 17 | |
| 5077150450 | Provincial | Lacking sophistication, narrow minded | 18 | |
| 5077150451 | Reiterate | To repeat | 19 | |
| 5077150452 | Spontaneous | Having no external cause, acting on impulse | 20 | |
| 5077150453 | Synthesis | Combining parts into a whole | 21 | |
| 5077150454 | Toxic | Poisonous | 22 | |
| 5077150455 | Vigilant | Very alert, watchful | 23 | |
| 5077150456 | Voluble | Ability to use words easily, fluent and glib | 24 |
| 7484243494 | Allusion | A figure of speech that makes a reference to a place, person, or something that happened | 0 | |
| 7484243495 | Epithet | An adjective or adjective phrase appropriately qualifying a subject (noun) by naming a key or important characteristic of the subject | 1 | |
| 7484243496 | Metonymy | A figure of speech that is another form of metaphor, very similar to synecdoche (and, in fact, some rhetoricians do not distinguish between the two), in which the thing chosen for the metaphorical image is closely associated with (but not an actual part of) the subject with which it is to be compared | 2 | |
| 7484243497 | Dysphemism | A figure of speech which is defined as the use of disparaging or offensive expressions instead of inoffensive ones. The use of negative expressions instead of positive ones. Opposite of euphemism | 3 | |
| 7484243498 | Fallacy of Division | Inferring that something is true of one or more of the parts from the fact that it is true of the whole | 4 | |
| 7484243499 | Litote | A figure of speech which employs an understatement by using double negatives or, in other words, a particular form of understatement, generated by denying the opposite or contrary of the word which otherwise would be used | 5 | |
| 7484243500 | License | 1.) A permit from an authority to own or use something, do a particular thing, or carry on a trade. Formal or official permission to do something 2.) Freedom to deviate from fact or from conventions such as grammar, meter, or perspective, for effect 3.) Freedom to behave as one wishes, especially in a way that results in excessive or unacceptable behavior 4.) An excuse to do something wrong 5.) To authorize the use, performance, or release of... | 6 | |
| 7484243501 | Gravity | 1.) The force that attracts a body toward the center of the earth, or toward any other physical body having mass 2.) Extreme or alarming importance; seriousness | 7 | |
| 7484243502 | Temper | 1.) A person's state of mind seen in terms of their being angry or calm 2.) The degree of hardness and elasticity in steel or other metal 3.) To improve the hardness and elasticity of (steel or other metal) by reheating and then cooling it 4.) To serve as a neutralizing or counterbalancing force to (something) 5.) To tune so as to make the tones available in different keys or tonalities | 8 |
| 9793866476 | Allegory | The device of using character and/or story elements symbolically to represent an abstraction in addition to the literal meaning. In some allegories, for example, an author may intend the characters to personify an abstraction lie hope or freedom. The allegorical meaning usually deals with moral truth or a generalization about human existence. A story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one. |  | 0 |
| 9793866477 | Alliteration | The repetition of sounds, especially initial consonants in tow or more neighboring words (as in "she sells sea shells). Although the term is not used frequently in the multiple-choice section, you can look for alliteration in any essay passage. The repetition can reinforce meaning, unify ideas, supply a musical sound, and/or echo the sense of the passage. |  | 1 |
| 9793866478 | Allusion | A direct or indirect reference to something which is presumably commonly known, such as an event, book, myth, place, or work of art. Allusions can be historical, literary, religious, topical, or mythical. There are many more possibilities, and a work may simultaneously use multiple layers of allusion. |  | 2 |
| 9793866479 | Ambiguity (am-bi-gyoo-i-tee) | The multiple meanings, either intentional or unintentional, of a word, phrase, sentence, or passage. |  | 3 |
| 9793866480 | Analogy | A similarity or comparison between two different things or the relationship between them. An analogy can explain something unfamiliar by associating it with or pointing out its similarity to something more familiar. Analogies can also make writing more vivid, imaginative, or intellectually engaging. Ex. He that voluntarily continues ignorance is guilty of all the crimes which ignorance produces, as to him |  | 4 |
| 9793866481 | Anaphora (uh-naf-er-uh) | One of the devices of repetition, in which the same expression (word or words) is repeated at the beginning of two or more lines, clauses, or sentences. |  | 5 |
| 9793866482 | Anecdote | A short narrative detailing particulars of an interesting episode or event. The term most frequently refers to an incident in the life of a person |  | 6 |
| 9793866483 | Antecedent (an-tuh-seed-nt) | The word, phrase, or clause referred to by a pronoun. The AP Language exam occasionally asks for the antecedent of a given pronoun in a long, complex sentence or in a group of sentences. |  | 7 |
| 9793866484 | Antithesis (an-tih-theh-sis) | Figure of balance in which two contrasting ideas are intentionally juxtaposed, usually through parallel structure; a contrasting of opposing ideas in adjacent phrases, clauses, or sentences. Antithesis creates a definite and systematic relationship between ideas. |  | 8 |
| 9793866485 | Aphorism | A terse statement of know 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.) An aphorism can be a memorable summation of the author's point. |  | 9 |
| 9793866486 | Apostrophe | A figure of speech that directly addresses an absent or imaginary person or a personified abstraction, such as liberty or love. It is an address to someone or something that cannot answer. The effect is to give vent to or display intense emotion, which can no longer be held back: |  | 10 |
| 9793866487 | Asyndeton (uh-sin-di-tuhn) | consists of omitting conjunctions between words, phrases, or clauses. This can give the effect of unpremeditated multiplicity, of an extemporaneous rather than a labored account. Asyndetic lists can be more emphatic than if a final conjunction were used. |  | 11 |
| 9793866488 | Atmosphere | The emotional mood created by the entirety of a literary work, established partly by the setting and partly by the author's choice of objects that are described. Even such elements as description of the weather can contribute to the atmosphere. Frequently atmosphere forshadows events. Perhaps it can create a mood. |  | 12 |
| 9793866489 | Chiasmus (kahy-az-muhs) | (From the Greek word for "criss-cross," a designation baed on the Greek letter "chi," written X). Chiasmus is a figure of speech in which two successive phrases or clauses are parallel in syntax, but reverse the order of the analogous words. |  | 13 |
| 9793866490 | Clause | a grammatical unit that contains both a subject and a verb. An independent, or main, clause expresses a complete thought and can sand alone as a sentence. A dependent, or subordinate clause cannot stand alone as a sentence and must be accompanied by an independent clause. The point that you want to consider is the question of what or why the author subordinates one element to the other. You should also become aware of making effective use of subordination in your own writing. |  | 14 |
| 9793866491 | Colloquial/colloquialism (kuj-loh-kwee-uhl) | The use of slang or informalities in speech or writing. Not generally acceptable for formal writing, colloquialisms give a work a conversational, familiar tone. Colloquial expressions in writing include local or regional dialects. | | 15 |
| 9793866492 | Coherence | A principle demanding that the parts of any composition be arranged so that the meaning of the whole may be immediately clear and intelligible. Words, phrases, clauses within the sentence; and sentences, paragraphs, and chpters in larger pieces of writing are the unit that by their progressive and logical arrangement, make for coherence. |  | 16 |
| 9793866493 | Conceit | A fanciful expression, usually in the form of an extended metaphor or surprising analogy between seemingly dissimilar objects. A conceit displays intellectual cleverness as a result of the unusual comparison being made. |  | 17 |
| 9793866494 | Connotation | - The nonliteral, associative meaning of a word; the implied, suggested meaning. Connotations may involve ideas, emotions, or attitudes. | | 18 |
| 9793866495 | Denotation | The strict, literal, dictionary definition of a word, devoid of any emotion attitude, or color. |  | 19 |
| 9793866496 | Diacope | repetition of a word or phrase after an intervening word or phrase: word/phrase X, . . ., word/phrase X. |  | 20 |
| 9793866497 | Diction | Related to style, diction refers to the writer's word choices, especially with regard to their correctness, clearness, or effectiveness. For the AP exam, you should be able to describe an author's diction (for example, formal or informal, ornate or plain) and understand the ways in which diction can complement the author's purpose. Diction, combined with syntax, figurative language, literary devices, etc., creates an author's style. |  | 21 |
| 9793866498 | Didactic (dahy-dak-tik) | From the Greek, didactic literally means "teaching." Didactic works have the primary aim of teaching or instructing, especially the teaching of moral or ethical principles. |  | 22 |
| 9793866499 | Enumeratio | Figure of amplification in which a subject is divided into constituent parts or details, and may include a listing of causes, effects, problems, solutions, conditions, and consequences; the listing or detailing of the parts of something. |  | 23 |
| 9793866500 | Expletive (ek-spli-tiv) | Figure of emphasis in which a single word or short phrase, usually interrupting normal speech, is used to lend emphasis to the words on either side of the expletive. |  | 24 |
| 9793866501 | Euphemism (yoo-fuh-miz-uhm) | From the Greek for "good speech," euphemisms are a more agreeable or less offensive substitute for a generally unpleasant word or concept. The euphemism may be sued to adhere to standards of social or political correctness or to add humor or ironic understatement. | | 25 |
| 9793866502 | Exposition | In essays, one of the four chief types of composition, the others being argumentation, description, and narration. The purpose of exposition is to explain something. In drama, the exposition is the introductory material, which creates the tone, gives the setting, and introduces the characters and conflict. |  | 26 |
| 9793866503 | Extended metaphor | A metaphor developed at great length, occurring frequently in or throughout the work. |  | 27 |
| 9793866504 | Figurative language | - Writing or speech that is not intended to carry literal meaning and is usually meant to be imaginative and vivid. |  | 28 |
| 9793866505 | Figure of speech | A device used to produce figurate language. Many compare dissimilar things. Figures of speech include apostrophe, hyperbole, irony, metaphor, metonymy, oxymoron, paradox, personification, simile, synecdoche, and understatement. |  | 29 |
| 9793866506 | Generic conventions | This term describes traditions for each genre. These conventions help to define each genre; for example, they differentiate an essay and journalistic writing or an autobiography and political writing. On the AP language exam, try to distinguish the unique features of a writer's work from those dictated by convention. |  | 30 |
| 9793866507 | Genre | The major category into which a literary work fits. The basic divisions of literature are prose, poetry, and drama. However, genre is a flexible term; within these broad boundaries exist many subdivisions that are often called genres themselves. For example, prose can be divided into fiction (novels and short stories) or nonfiction (essays, biographies, autobiographies, etc). Poetry can be divided into lyric, dramatic, narrative, epic, etc. Drama can be divided into tragedy, comedy, melodrama, farce, etc. ON the AP language exam, expect the majority of the passages to be from the following genres: autobiography, biography, diaries, criticism, essays, and journalistic, political, scientific, and nature writing. |  | 31 |
| 9793866508 | Homily (hom-uh-lee) | This term literally means "sermon," but more informally, it can include any serious talk, speech, or lecture involving moral or spiritual advice. |  | 32 |
| 9793866509 | Hyperbole (hahy-pur-buh-lee) | A figure of speech using deliberate exaggeration or overstatement. Hyperboles often have a comic effect; however, a serious effect is also possible. Often, hyperbole produces irony. |  | 33 |
| 9793866510 | Hypophora | Figure of reasoning in which one or more questions is/are asked and then answered, often at length, by one and the same speaker; raising and responding to one's own question(s). A common usage is to ask the question at the beginning of a paragraph and then use the paragraph to answer it. You can use hypophora to raise questions which you think the reader obviously has on his/her mind and would like to see formulated and answered. |  | 34 |
| 9793866511 | Imagery | The sensory details or figurative language used to describe, arouse emotion, or represent abstractions. On a physical level, imager y uses terms related to the five senses; we refer to visual, auditory, tactile, gustatory, or olfactory imagery. On a broader and deeper level, however, one image can represent more than one thing. For example, a rose may present visual imagery while also representing the color in a woman's cheeks and/or symbolizing some degree of perfection (It is the highest flower on the Great Chain of Being). An author may use complex imagery while simultaneously employing other figure s of speech, especially metaphor and simile. In addition, this term can apply to the total of all the images in a work. ON the AP exam, pay attention to how an author creates imagery and to the effect of this imagery. |  | 35 |
| 9793866512 | Inference/infer | To draw a reasonable conclusion from the information presented. When a multiple-choice question asks for an inference to be drawn from a passage, the most direct, most reasonable inference is the safest answer choice. If an inference is implausible, it's unlikely to be the correct answer. Note that if the answer choice is directly stated, it is not inferred and is wrong. You must be careful to note the connotation - negative or positive - of the choices. |  | 36 |
| 9793866513 | Invective | an emotionally violent, verbal denunciation or attach using strong, abusive language. |  | 37 |
| 9793866514 | Irony/ironic | The contrast between what is stated explicitly and what is really meant. The difference between what appears to be and what actually is true. In general, there are three major types of irony used in language; (1) In a verbal irony, the words literally state the opposite of the writer's (or speaker's) true meaning. (2) In situational irony, events turn out the opposite of what was expected. What the characters and the readers think ought to happen. (3) In dramatic irony, facts or events are unknown to a character in a play or piece of fiction, but know to the reader, audience, or other characters in the work. Irony is used for many reasons, but frequently, it's used to create poignancy or humor. |  | 38 |
| 9793866515 | Juxtaposition (juhk-stuh-puh-zish-uhn) | When two words, phrases, images, ideas are placed close together or side by side for comparison or contrast. |  | 39 |
| 9793866516 | Litotes (lahy-toh-teez) | From the Greek word "simple" or "plain." Litotes is a figure of thought in which a point is affirmed by negating its opposite. It is a special form of understatement, where the surface denial serves, through ironic contrast, to reinforce the underlying assertion. |  | 40 |
| 9793866517 | Loose sentence | a type of sentence in which the main idea (independent clause) comes first, followed by wdependent grammatical units such as phrases and clauses. If a period were placed at the end of the independent clause, the clause would be a complete sentence. A work containing many loose sentences often seems informal, relaxed, and conversational. Generally loose sentences create loose style. |  | 41 |
| 9793866518 | Metaphor | A figure of speech using implied comparison of seemingly unlike things or the substitution of one for the other, suggesting some similarity. Metaphorical language makes writing more vivid, imaginative, thought provoking, and meaningful. |  | 42 |
| 9793866519 | Metonymy (mi-ton-uh-mee) | A term from the Greek meaning "changed label" or "substitute name." Metonymy is a figure of speech in which the name of one object is substituted for that of another closely associated with it. A news release that claims "the White House declared" rather that "the President declared" is using metonymy. The substituted term generally carries a more potent emotional response. |  | 43 |
| 9793866520 | Mood | This term has two distinct technical meanings in English writing. The first meaning is grammatical and eals with verbal units and a speaker's attitude. The indicative mood is used only for factual sentences. For example, "Joe eats too quickly." The subjective mod is used to express conditions contrary to fact. For example, "If I were you, I'd get another job." The imperative mood is used for commands. For example, "Shut the door!" The second meaning of mood is literary, meaning the prevailing atmosphere or emotional aura of a work. Setting, tone, and events can affect the mood. In this usage, mood is similar to tone and atmosphere. |  | 44 |
| 9793866521 | Narrative | The telling of a story or an account of an event or series of events. |  | 45 |
| 9793866522 | Onomatopoeia (on-uh-mat-uh-pee-uh) | A figure of speech in which natural sounds are imitated in the sounds of words. Simple examples include such words as buzz, hiss, hum, crack, whinny, and murmur. If you not eexamples of onomatopoeia in an essay passage, note the effect. |  | 46 |
| 9793866523 | Oxymoron | From the Greek for "pointedly foolish," an oxymoron is a figure of speech wherein the author groups apparently contradictory terms to suggest a paradox. Simple examples include "jumbo shrimp" and "cruel kindness." This term does not usually appear in the multiple-choice questions, but there is a chance that you might find it in an essay. Take note of the effect which the author achieves with this term. |  | 47 |
| 9793866524 | Paradox | A statement that appears to be self-contradictory or opposed to common sense but upon closer inspection contains some degree of truth or validity. |  | 48 |
| 9793866525 | Parallelism | Also referred to as parallel construction or parallel structure, this term comes from Greek roots meaning "beside one another." It refers to the grammatical or rhetorical framing of words, phrases, sentences, or paragraphs to give structural similarity. This can involve, but is not limited to repetition of a grammatical element such as a preposition or verbal phrase. A famous example of parallelism begins Charles Dickens's novel A Tale of Two Cities: "It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity . . ." The effects of parallelism are numerous, but frequently they act as an organizing force to attract the reader's attention, add emphasis and organization, or simply provide a musical rhythm. |  | 49 |
| 9793866526 | Parody | A work that closely imitates the style or content of another with the specific aim of comic effect and/or ridicule. As comedy, parody distorts or exaggerated distinctive features of the original. As ridicule, it mimics the work by repeating and borrowing words, phrases, or characteristics in order to illuminate weaknesses in the original. Well-written parody offers enlightenment about the original, but poorly written parody offers only ineffectual imitation. Usually an audience must grasp literary allusion and understand the work being parodied in order to fully appreciate the nuances of the newer work. Occasionally, however, parodies take on a life of their own and don't require knowledge of the original |  | 50 |
| 9793866527 | Pedantic (puh-dan-tik) | An adjective that describes words, phrases, or general tone that is overly scholarly, academic, or bookish. |  | 51 |
| 9793866528 | Periodic sentence | A sentence that presents its central meaning in a main clause at the end. This independent clause is preceded by a phrase or clause that cannot stand alone. For example: "Ecstatic with my AP score, I let out a loud, joyful shout!" The effect of a periodic sentence is to add emphasis and structural variety. It is also a much stronger sentence than the loose sentence. |  | 52 |
| 9793866529 | Personification | A figure of speech in which the author presents or describes concepts, animals, or inanimate objects by endowing them with human attributes or emotions. Personification is used to make these abstractions, animal, or objects appear more vivid to the reader. |  | 53 |
| 9793866530 | Polysyndeton (paulee-sin-dih-tawn) | Figure of addition and emphasis which intentionally employs a series of conjunctions (FANBOYS: for, and, nor, but, or, yet, so) not normally found in successive words, phrases or clauses; the deliberate and excessive use of conjunctions in successive words or clauses. The effect is a feeling of multiplicity, energetic enumeration, and building up - a persistence or intensity. |  | 54 |
| 9793866531 | Predicate adjective | One type of subject complement is an adjective, group of adjectives, or adjective clause that follows a linking verb. It is an the predicate of the sentence, and modifies, or describes, the subject. |  | 55 |
| 9793866532 | Predicate nominative | A second type of subject complement - a noun, group of nouns, or noun clause that names the subject. It, like the predicate adjective, follows a linking verb and is located in the predicate of the sentence. |  | 56 |
| 9793866533 | Prose | One of the major divisions of genre, prose refers to fiction and non-fiction, including all its forms. In prose the printer determines the length of the line; in poetry, the poet determines the length of the line |  | 57 |
| 9793866534 | Repetition | The duplication, either exact or approximate, of any element of language, such as a sound, word, phrase, clause, sentence, or grammatical pattern. |  | 58 |
| 9793866535 | Rhetoric | From the Greek for "orator," this term describes the principles governing the art of writing effectively, eloquently, and persuasively. | 59 | |
| 9793866536 | Rhetorical modes | This flexible term describes the variety, the conventions, and purposes of the major kinds of writing. The four most common rhetorical modes and their purposes are as follows: (1) The purpose of exposition (or expository writing) is to explain and analyze information by presenting an idea, relevant evidence, and appropriate discussion. The AP language exam essay questions are frequently expository topics. (2) The purpose of argumentation is to prove the validity of an idea, or point of view, by presenting sound reasoning, discussion, and argument that thoroughly convince the reader. Persuasive writing is a type of argumentation having an additional aim of urging some form of action. (3) The purpose of description is to re-create, invent, or visually present a person, place, event or action so that the reader can picture that being described. Sometimes an author engages all five senses in description; good descriptive writing can be sensuous and picturesque. Descriptive writing may be straightforward and objective or highly emotional and subjective. (4) The purpose of narration is to tell a story or narrate an event or series of events. This writing mode frequently uses the tools of descriptive writing. These four modes are sometimes referred to as mode of discourse. |  | 60 |
| 9793866537 | Rhetorical Question [erotesis] | - differs from hypophora in that it is not answered by the writer because its answer is obvious or obviously desired, and usually just a yes or no answer would suffice. It is used for effect, emphasis, or provocation, or for drawing a conclusionary statement from the fact at hand. |  | 61 |
| 9793866538 | Sarcasm | From the Greek meaning "to tear flesh," sarcasm involves bitter, caustic language that is meant to hurt or ridicule someone or something. It may use irony is a device, but not all ironic statements are sarcastic, that is, intended to ridicule. When well done, sarcasm can be witty and insightful; when done poorly, it's simply cruel |  | 62 |
| 9793866539 | Satire | A work that targets human vices and follies or social institutions and conventions for reform or ridicule. Regardless of whether or not the work aims to reform human behavior, satire is best seen as a style of writing rather than a purpose for writing. It can be recognized by the many devices used effectively the satirist: irony, wit, parody, caricature, hyperbole, understatement, and sarcasm. The effects of satire are varied, depending on the writer's goal, but good satire, often humorous, is thought provoking and insightful about the human condition. |  | 63 |
| 9793866540 | Semantics | The branch of linguistics that studies the meaning of words, their historical and psychological development, their connotations, and their relation to one another |  | 64 |
| 9793866541 | Style | The consideration of style has two purposes: (1) An evaluation of the sum of the choices an author makes in blending diction, syntax, figurative language, and other literary devices. Some authors' styles are so idiosyncratic that we can quickly recognize works by the same author (or a writer emulating that author's style)/ Compare, for example, Jonathan's Swift to George Orwell or William Faulkner to Ernest Hemingway. We can analyze and describe an author's personal style and make judgments on how appropriate it is to the author's purpose. Styles can be called flowery, explicit, succinct, rambling, bombastic, commonplace, incisive, or laconic, to name only a few examples. (2) Classification of authors to a group and comparison of an author to similar authors. By means of such classification and comparison, we can see how an author's style reflects and helps to define a historical period, such as the Renaissance of the Victorian period, or a literary movement, such as the romantic, transcendental or realist movement. | | 65 |
| 9793866542 | Subject complement | The word (with any accompanying phrases) or clauses that follows a linking verb and complements, or completes, the subject of the sentence by either (1) renaming it or (2) describing it. The former is the technically a predicate nominative, the latter a predicate adjective. Multiple-choice questions. |  | 66 |
| 9793866543 | Subordinate clause | Like all clauses, this word group contains both a subject and a verb (plus any accompanying phrases or modifiers), but unlike the independent clause, the subordinate clause cannot stand alone; it does not express a complete thought. Also called a dependent clause, the subordinate clause depends on a main clause, sometimes called an independent clause, to complete its meaning. Easily recognized key words and phrases usually begin these clauses 0 for example: although, because, unless, if even though, since, as soon as, while who, when , where, how and that. |  | 67 |
| 9793866544 | Syllogism (sil- uh-jiz-uhm) | From the Greek for "reckoning together, " a syllogism (or syllogistic-reasoning or syllogistic logic is a deductive system of formal logic that presents two premises (the firs one called "major" and the second, "minor") that inevitably lead to a sound conclusion. A frequently cited example proceeds as follows; |  | 68 |
| 9793866545 | Symbol/symbolism | Generally, anything that represents itself and stands for something else. Usually a symbol is something concrete - such as object, action, character, or scene - that represents something more abstract. However, symbols, and symbolism can be much more complex. One system classifies symbols in three categories: (1) Natural symbols are objects and occurrences from nature to represent ideas commonly associated with them (dawn symbolizing hope or a new beginning, a rose symbolizing love, a tree symbolizing knowledge). (2) Conventional symbols are those that have been invested with meaning by a group (religious symbols such as a cross or Star of David; national symbols, such as a flag or an eagle; or group symbols, such as a skull an crossbones for pirates or the scales of justice for lawyers). (3) Literary symbols are sometimes also conventional in the sense that they are found in a variety of works and are generally recognized. However, a work's symbols may be more complicated as is the whale in Moby Dick and the jungle in Heart of Darkness. On the AP exam, try to determine what abstraction an object is a symbol for and to what extent it is successful in representing that abstraction. |  | 69 |
| 9793866546 | Synecdoche (si-nek-duh-kee) | is a type of metaphor in which the part stands for the whole, the whole for a part, the genus for the species, the species for the genus, the material for the thing made, or in short, any portion , section, or main quality for the whole or the thing itself (or vice versa). |  | 70 |
| 9793866547 | Syntax | The way an author chooses to join words into phrases, clauses, and sentences. Syntax is similar to diction, but you can differentiate them by thinking of syntax as the groups of words, while diction refers to the individual words. In the multiple-choice section, expect to be asked some questions about how an author manipulates syntax. In the essay section, you will need to analyze how syntax produces effects. | | 71 |
| 9793866548 | Theme | The central idea or message of a work, the insight it offers into life. Usually theme is unstated in fictional works, but in nonfiction, the theme may be directly stated, especially in exposityr or argumentative writing. |  | 72 |
| 9793866549 | Thesis | In expository writing, the thesis statement is the sentence or a group of sentences that directly expresses the author's opinion, purpose, meaning, or position. Expository writing is usually judged by analyzing how accurately, effectively, and thoroughly a writer has proved the thesis. |  | 73 |
| 9793866550 | Tone | Similar to mood, tone describes the author's attitude toward his material, the audience, or both. Tone is easier to determine in spoken language than in written language. Considering how a work would sound if ti were read aloud can help in identifying an author's tone. Some words describing tone are playful, serious, businesslike, sarcastic, humorous, formal, ornate, sardonic, and somber |  | 74 |
| 9793866551 | Transition | A word or phrase that links different ideas. Used especially, although not exclusively, in expository and argumentative writing, transitions effectively signal a shift from one idea to another. A few commonly used transitional words or phrases are furthermore, consequently, nevertheless, for example, in addition, likewise, similarly and on the contrary. More sophisticated writers use more subtle means of transition. We will discuss these methods later. |  | 75 |
| 9793866552 | Understatement | The ironic minimizing of fact, understatement presents something as less significant than it is. The effect can frequently be humorous and emphatic. Understatement is the opposite of hyperbole. | 76 | |
| 9793866553 | Undertone | An attitude that may lie under the ostensible tone of the piece. Under a cheery surface, for example, a work may have threatening undertones. William Blake's "The Chimney Sweeper" from the Songs of Innocence has a grim undertone. |  | 77 |
| 9793866554 | Wit | In modern usage, intellectually amazing language that surprises and delights. A witty statement is humorous, while suggesting the speaker's verbal power in creating ingenious and perceptive remarks. Wit usually uses terse language that makes a pointed statement. Historically, wit originally meant basic understanding. Its meaning evolved to include speed of understanding, and finally (in the early seventeenth century), it grew to mean quick perception including creative fancy and a quick tongue to articulate an answer that demanded the same quick perception. |  | 78 |
| 5553709721 | complement | to add what is lacking or needed; bring to perfection | 0 | |
| 5553709722 | discreet | wise in keeping silent about secrets and things of a delicate nature; tactful | 1 | |
| 5553709723 | fastidious | extremely attentive to details; fussy | 2 | |
| 5553709724 | flout | to treat with scorn or contempt; defy insultingly | 3 | |
| 5553709725 | heinous | extremely evil; outrageous | 4 | |
| 5553709726 | implement | to carry out; to put into practice | 5 | |
| 5553711997 | impromptu | performed or spoken without practice or preparation | 6 | |
| 5553714279 | inference | a conclusion drawn from evidence; an assumption | 7 | |
| 5553716640 | intuition | instinctive knowledge; hunch | 8 | |
| 5553719023 | obtrusive | undesirably noticeable | 9 |
| 7299288243 | audience | The listener, viewer, or reader of a text. Most texts are likely to have multiple audiences. | 0 | |
| 7299288244 | 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. | 1 | |
| 7299288245 | connotation | Meanings or associations that readers have with a word beyond its dictionary definition, or denotation. Connotations are usually positive or negative, and they can greatly affect the author's tone. | 2 | |
| 7299288246 | context | the circumstances, atmosphere, attitudes, and events surrounding a text. | 3 | |
| 7299288247 | conterargument | 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. | 4 | |
| 7299288248 | ethos (greek) | character | 5 | |
| 7299288249 | ethos | Speakers appeal to ethos to demonstrate that they are credible and trustworthy to speak on a given topic. Ethos is established by both who you are and what you say. | 6 | |
| 7299288250 | logos (greek) | embodied thought | 7 | |
| 7299288251 | logos | Speakers appeal to logos, or reason, by offering clear, rational ideas and using specific details, examples, facts, statistics, or expert testimony to back them up. | 8 | |
| 7299288252 | occasion | The time and place a speech or a piece is written. | 9 | |
| 7299288253 | pathos (greek) | suffering or experience | 10 | |
| 7299288254 | pathos | Speakers appeal to pathos to emotionally motivate their audience. More specific appeal to pathos might play on the audience's values, desires, and hopes, on the one hand, or fears and prejudices, on the other. | 11 | |
| 7299288255 | persona (greek) | mask | 12 | |
| 7299288256 | persona | The face of character that a speaker shows his or her audience. | 13 | |
| 7299288257 | polemic (greek) | hostile | 14 | |
| 7299288258 | polemic | 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. | 15 | |
| 7299288259 | 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. | 16 | |
| 7299288260 | purpose | The goal the speaker wants to achieve. | 17 | |
| 7299288261 | refutation | A denial of the validity of an opposing argument. In order to sound reasonable, refutations often follow a concession that acknowledges that an opposing argument may be true or reasonable. | 18 | |
| 7299288262 | rhetoric (greek) | the faculty of observing in any given case the available means of persuasion | 19 | |
| 7299288263 | rhetoric | The art of finding ways to persuade the audience. | 20 | |
| 7299288264 | rhetorical appeals | Rhetorical techniques used to persuade an audience by emphasizing what they find most important or compelling. The three major appeals are to ethos (character), logos (reason), and pathos (emotion). | 21 | |
| 7299288265 | rhetorical triangle | A diagram that illustrates the interrelationship among the speaker, audience, and subject in determining a text. | 22 | |
| 7299288266 | SOAPS | A mnemonic device that stands for Subject, Occasion, Audience, Purpose, and Speaker. It is a handy way to remember the various elements that make up the rhetorical situation. | 23 | |
| 7299288267 | speaker | The person or group who creates a text. This might be a politician who delivers speech, a commentator who writes an article, an artist who draws a political cartoon, or even a company that commissions an advertisement. | 24 | |
| 7299288268 | subject | The topic of a text. What the text is about. | 25 | |
| 7299288269 | text | While this term generally means the written word, in the humanities it has come to mean any cultural product that can be "read" -- meaning not just consumed and comprehended, but investigated. This includes fiction, nonfiction, poetry, political cartoons, fine art, photography, performances, fashion, cultural trends, and much more. | 26 | |
| 7299288893 | aristotle triangle | same thing as rhetorical triangle, aristotle came up with it | 27 |
| 9941980918 | Ad Hominem Argument | Latin for "to or against the person," this fallacy involves switching the argument from the issue at hand to the character of the other speaker |  | 0 |
| 9941980919 | Ad Populum (bandwagon appeal) | This fallacy occurs when evidence boils down to "everybody's doing it, so it must be a good thing to do." |  | 1 |
| 9941980920 | Allegory | The device of using character and/or story elements symbolically to represent an abstraction in addition to the literal meaning |  | 2 |
| 9941980921 | Allusion | A direct or indirect reference to something that is commonly known. Allusions can be historical, literary, religious, or mythical. |  | 3 |
| 9941980922 | Ambiguity | The multiple meanings of a word, phrase, sentence, or passage. |  | 4 |
| 9941980923 | Analogy | A similarity or relationship between two things. An analogy can explain something unfamiliar by associating it with something more familiar. |  | 5 |
| 9941980924 | antecedent | The word, phrase, or clause referred to by a pronoun |  | 6 |
| 9941980925 | Antithesis | A figure of speech that involves an opposition, or contrast, of ideas or words in a parallel construction. |  | 7 |
| 9941980926 | Appeal to False Authority | This fallacy occurs when someone who has no expertise on a subject is cited as an authority. |  | 8 |
| 9941980927 | Apostrophe | A figure of speech that directly addresses an absent or imaginary person or personified abstraction. |  | 9 |
| 9941980928 | Archaic Diction | Old-fashioned or outdated choice of words |  | 10 |
| 9941980929 | Asyndenton | Omission of conjunctions between coordinate phrases, clauses, or words. |  | 11 |
| 9941980930 | Attitude | A writer's position or emotion regarding the subject of the writing. |  | 12 |
| 9941980931 | Caricature | A representation in which the subject's features are deliberately exaggerated to produce a comic or grotesque effect. |  | 13 |
| 9941980932 | Concession | An acknowledgement that an opposing argument may be true or reasonable. |  | 14 |
| 9941980933 | Connotations | Meanings or associations that readers have with a word beyond its dictionary definition. Connotations are positive or negative. |  | 15 |
| 9941980934 | Context | The circumstances, atmosphere, attitudes, and events surrounding a text. |  | 16 |
| 9941980935 | Counterargument | An opposing argument to the one a writer is putting forward |  | 17 |
| 9941980936 | Chiasmus | A figure of speech based on inverted parallelism. It is a rhetorical figure in which two clauses are related to each other through a reversal of terms. |  | 18 |
| 9941980937 | Antimetabole | Repetition of words in reverse order. Antimetabole is a type of chiasmus, but not all chiasmus are a type of antimetabole. |  | 19 |
| 9941980938 | Colloquialism | Slang or informality in speech or writing |  | 20 |
| 9941980939 | Claim | Also called an assertion or a proposition, a claim states the argument's main idea or position. A claim differs from a topic or subject in that a claim has to be arguable. |  | 21 |
| 9941980940 | Claim of Fact | A claim of fact asserts that something is true or not true. Ex. Test scores accurately measure a student's success! |  | 22 |
| 9941980941 | Claim of Value | A claim of value argues that something is good or bad, right or wrong. Ex. Video games are corrupting today's youth. |  | 23 |
| 9941980942 | Claim of Policy | A claim of policy proposes a change. Ex. Legalize marijuana! |  | 24 |
| 9941980943 | Closed Thesis | A closed thesis is a statement of the main idea of the argument that also previews major points the writer intends to make. Ex. The three-dimensional characters, exciting plot, and complex themes of the Harry Potter series makes them legendary children's books. |  | 25 |
| 9941980944 | conceit | A fanciful expression, usually in the form of an extended metaphor or a surprising analogy between two dissimilar objects. |  | 26 |
| 9941980945 | Concrete detail | Specific details, facts, or examples used to support the main idea of a text. |  | 27 |
| 9941980946 | denotation | The strict, literal, dictionary definition of a word. | | 28 |
| 9941980947 | diction | related to style, diction refers to the writer's word choices. Examples of diction include, formal or informal, ornate or plain. | | 29 |
| 9941980948 | didactic | didactic works have the primary aim of teaching or instructing, especially teaching moral or ethical principals | | 30 |
| 9941980949 | ethos | A speaker's expertise, knowledge, experience, sincerity, and common purpose with the audience are examples of how a speaker demonstrates they are credible and trustworthy. | | 31 |
| 9941980950 | euphemism | a more agreeable or less offensive substitute for generally unpleasant words or concepts |  | 32 |
| 9941980951 | extended metaphor | a metaphor developed at great length |  | 33 |
| 9941980952 | homily | This term literally means, "sermon," but more informally, it can include any serious talk, speech, or lecture involving moral or spiritual advice. |  | 34 |
| 9941980953 | hyperbole | a figure of speech using deliberate exaggeration or overstatement |  | 35 |
| 9941980954 | imagery | the sensory details or figurative language used to describe, arouse emotion, or represent abstractions |  | 36 |
| 9941980955 | infer | to draw a reasonable conclusion from the information presented. Inferences are not directly stated. | | 37 |
| 9941980956 | irony | the contrast between what is stated explicitly and what is really meant; the difference between what appears to be and what is actually true. |  | 38 |
| 9941980957 | juxtaposition | placing dissimilar items, descriptions, or ideas closely together or side by side, especially for comparison or contrast. | | 39 |
| 9941980958 | logical fallacy | A mistake in verbal reasoning. The reasoning must be potentially deceptive. |  | 40 |
| 9941980959 | metaphor | A figure of speech using implied comparison of unlike things. Metaphorical language makes writing more vivid, imaginative, thought-provoking, and meaningful. |  | 41 |
| 9941980960 | mode of discourse: exposition | writing that intends to inform and demonstrate a point | 42 | |
| 9941980961 | mode of discourse: narration | writing that tells a story or relates a series of events | 43 | |
| 9941980962 | mode of discourse: description | writing that creates sensory images, often evoking a mood or atmosphere | 44 | |
| 9941980963 | mode of discourse: argumentation | writing that takes a stand on an issue and supports it with evidence and logical reasoning | 45 | |
| 9941980964 | onomatopoeia | a figure of speech in which natural sounds are imitated in the sound of words | | 46 |
| 9941980965 | parallelism/parallel construction/parallel structure | the grammatical or rhetorical framing of words, phrases, sentences or paragraphs to give structural similarity |  | 47 |
| 9941980966 | parody | a work that closely imitates the style or content of another work with the specific aim of comic effect and/or ridicule |  | 48 |
| 9941980967 | pathos | a speaker's intent to inspire an emotional reaction in an audience |  | 49 |
| 9941980968 | personification | a figure of speech in which the author endows an inanimate object with human qualities or characteristics | | 50 |
| 9941980969 | point of view--first person | The perspective from which a story is told. 1st person--tells the story with the pronoun "I" and is a character in the story. |  | 51 |
| 9941980970 | point of view--third person limited omniscient | Uses "he," "she," and "it." Limited omniscient--the narrator presents the feelings and thoughts of only one character |  | 52 |
| 9941980971 | prose | Prose refers to fiction and nonfiction. Prose is written in ordinary language and most closely resembles everyday speech. |  | 53 |
| 9941980972 | repetition | The duplication of any element of language, such as sound, word, phrase, sentence, or grammatical pattern. | 54 | |
| 9941980973 | rhetoric | Greek for "orator" describes the principles governing the art of writing effectively, eloquently, and persuasively |  | 55 |
| 9941980974 | logos | employs logical reasoning, combining a clear idea with well-thought-out and appropriate examples and details | | 56 |
| 9941980975 | rhetorical appeals | The persuasive device by which a writer tries to sway the audience's attention and response to a given work. |  | 57 |
| 9941980976 | oxymoron | a paradox made up of two seemingly contradictory words |  | 58 |
| 9941980977 | persona | the face or character that a speaker shows to his or her audience |  | 59 |
| 9941980978 | polemic | An aggressive argument that tries to establish the superiority of one opinion over all others. Ex. No concession to other arguments. |  | 60 |
| 9941980979 | polysyndeton | The deliberate use of multiple conjunctions between coordinate phrases, clauses, or words. |  | 61 |
| 9941980980 | propaganda | The spread of ideas and information to further a cause |  | 62 |
| 9941980981 | Qualifier | words used to temper a claim, making it less absolute Ex. usually, probably, maybe, in most cases, most likely |  | 63 |
| 9941980982 | scheme | artful syntax; a deviation from the normal order of words |  | 64 |
| 9941980983 | second-hand evidence | evidence that is accessed through research, reading, and investigation |  | 65 |
| 9941980984 | trope | artful diction; a figure of speech such as metaphor, simile, hyperbole, metonymy, or synecdoche |  | 66 |
| 9941980985 | metonymy | a figure of speech in which something is represented by another thing that is related to it or emblematic of it. |  | 67 |
| 9941980986 | synecdoche | figure of speech that uses a part to represent the whole. Ex. "All hands on deck!" |  | 68 |
| 9941980987 | Zeugma | The use of a word to modify two or more words when it is appropriate to use only one of them or is appropriate to use each but in a different way. Ex. "To wage war and peace" or "On his fishing trip he caught three trout and a cold." |  | 69 |
| 9941980988 | rhetorical question | a question that is asked merely for effect and does not expect a reply |  | 70 |
| 9941980989 | satire | a work that targets human vices and follies, or societal institutions and conventions for reform or ridicule |  | 71 |
| 9941980990 | simile | an explicit comparison, using "like" or "as" |  | 72 |
| 9941980991 | style | An evaluation of a sum of choices an author makes in blending diction, syntax, figurative language, and other literary devices. |  | 73 |
| 9941980992 | syllogism | A deductive system of formal logic that presents to premises--the first one called major and the second minor--that inevitably lead to a sound conclusion. | | 74 |
| 9941980993 | symbol | An object, action, character, scene, or idea that represents something more abstract. |  | 75 |
| 9941980994 | syntax | the way an author chooses to join words into phrases, clauses, and sentences |  | 76 |
| 9941980995 | theme | the central idea or message of a work. Themes should be expressed in complete sentences by combining the topic with a verb. Ex. Forgiveness is earned through sacrifice. |  | 77 |
| 9941980996 | thesis | The thesis statement is the sentence or group of sentences that directly express the author's opinion, purpose, meaning or proposition. | | 78 |
| 9941980997 | tone | tone describes the author's attitude toward his or her material, the audience, or both. | | 79 |
| 9941980998 | mood | The dominant impression or emotional atmosphere evoked by a text. Ex. Mood is how "you" feel after reading a text. |  | 80 |
| 9941980999 | transition | a word or phrase that links different ideas or effectively signals a shift from one idea to another. | 81 | |
| 9941981000 | rhetorical strategies | A global term that refers to all the strategies an author can use. Ex. structure, purpose, style |  | 82 |
| 9941981001 | begging the question | A fallacy in which a claim is based on evidence or support that is in doubt. It "begs" a question whether the support itself is sound. |  | 83 |
| 9941981002 | Either/Or (false dilemma) | In this fallacy, the speaker presents two extreme options as the only possible choices. |  | 84 |
| 9941981003 | First-hand evidence | Evidence based on something the writer knows, whether it's from personal experience or observations. | 85 | |
| 9941981004 | Hasty generalization | A fallacy in which a faulty conclusion is reached because of inadequate information. Ex. Smoking isn't bad for you; my aunt smoked a pack a day and lived to be 90. |  | 86 |
| 9941981005 | Hortative Sentence | Sentence that exhorts, urges, entreats, implores, or calls to action. Ex. "Let both sides explore what problem unite us..." |  | 87 |
| 9941981006 | occasion | the time and place a speech is given or a piece is written |  | 88 |
| 9941981007 | open thesis | an open thesis is one that does not list all of the points the writer intends to cover in an essay. Ex. The popularity of the Harry Potter books demonstrates that both young and old readers value the fanciful world of wizardry. | | 89 |
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