| 5232128671 | Allegory | 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 like hope or freedom. The allegorical meaning usually deals with moral truth or a generalization about human existence.
Ex. Pilgrim's Progress by John Bunyan
A story in which each aspect of the story has a symbolic meaning outside the tale itself. | | 0 |
| 5232128673 | 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. | | 1 |
| 5232128674 | Ambiguity | The multiple meanings, either intentional or unintentional, of a word, phrase, sentence, or passage. |  | 2 |
| 5232128677 | Antithesis | the opposition or contrast of ideas; the direct opposite. | | 3 |
| 5232128678 | Aphorism | A terse statement of known authorship which expresses a general truth or a moral principle. (If the authorship is unknown, the statement is generally considered to be a folk proverb.) An aphorism can be a memorable summation of the author's point | | 4 |
| 5232128679 | Apostrophe | A prayer-like 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 may add familiarity or emotional intensity. William Wordsworth addresses John Milton as he writes, "Milton, thou shouldst be living at this hour: England hath need of thee." Another example is Keats' "Ode to a Grecian Urn," in which Keats addresses the urn itself: rarely on an AP exam, but important when there. ALWAYS Pathos. | | 5 |
| 5232128680 | Atmosphere | The emotional nod 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 a description of the weather can contribute to the atmosphere. Frequently atmosphere foreshadows events. Perhaps it can create a mood. | | 6 |
| 5232128681 | Caricature | a verbal description, the purpose of which is to exaggerate or distort, for comic effect, a person's distinctive physical features or other characteristics. Example: The pupils of her eyes are small; like a pebble of sand floating atop a can of blue paint. | | 7 |
| 5232128683 | Colloquialism | 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 dialect. | | 8 |
| 5232128684 | Conceit | An expression, usually in the form of an extended metaphor or surprising analogy between seemingly dissimilar objects. It displays intellectual cleverness through unusual comparisons that make good sense. In literature, a conceit is an extended metaphor with a complex logic that governs a poetic passage or entire poem. | | 9 |
| 5232128685 | Connotation | The non-literal, associative meaning of a word; the implied, suggested meaning. Connotations may involve ideas, emotions or attitudes. | | 10 |
| 5232128686 | Denotation | The strict, literal, dictionary definition of a word, devoid of any emotion, attitude, or color. (Example: the denotation of knife- a utensil for cutting - Connotation - knife - such as knife in the back - anger fear violence betrayal | | 11 |
| 5232128687 | Diction | Related to style, diction refers to the writer's word choices, especially with regard to their correctness, clearness, or effectiveness. FOR AP EXAMS, you should be able to describe the authors diction and understand how it compliments his purpose (along with imagery syntax, literary devices, etc). | | 12 |
| 5232128688 | Didactic | From the Greek, didactic literally means "teaching." Didactic words have the primary aim of teaching or instructing, especially the teaching of moral or ethical principles. | | 13 |
| 5232128689 | Euphemism | From the Greek for "good speech," euphemisms are a more agreeable or less offensive substitute for a generally unpleasant word or concept - POLITICALLY CORRECT. | | 14 |
| 5232128690 | Extended Metaphor | A metaphor developed at great length, occurring frequently in or throughout a work. | | 15 |
| 5232128691 | Figurative Language | Writing or speech that is not intended to carry literal meaning and is usually meant to be imaginative and vivid. | | 16 |
| 5232128692 | Figure of speech | A device used to produce figurative language. Many compare dissimilar things. Figures of speech include apostrophe, hyperbole, irony, metaphor, oxymoron, paradox, personification, simile, synecdoche, and understatement. | | 17 |
| 5232128693 | 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. | | 18 |
| 5232128694 | 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. There may be fiction or poetry. | | 19 |
| 5232128695 | Homily | This term literally means "sermon," but more informally, it can include any serious talk, speech, or lecture involving moral or spiritual advice. | | 20 |
| 5232128699 | Invective | an emotionally violent, verbal denunciation or attack using strong, abusive language. (For example, in Henry IV, Part "hill of flesh.") | | 21 |
| 5232128700 | Irony/ironic | The contrast between what is stated explicitly and what is really meant, or the difference between what appears to be and what is actually true. Irony is often used to create poignancy or humor. In general, there are three major types of irony used in language: (1) verbal irony - when the words literally state the opposite of the writer's (or speaker's) meaning (2) situational irony - when events turn out the opposite of what was expected; when what the characters and readers think ought to happen is not what does happen (3) dramatic irony - when facts or events are unknown to a character in a play or piece of fiction but known to the reader, audience, or other characters in the work. | | 22 |
| 5232128701 | Litotes | From the Greek for "simple" or "plain." Litotes is a figure of thought in which a point is affirmed by negating its opposite. A special form of understatement, where the surface denial serves, through ironic contrast, to reinforce the underlying assertion. Ex. He's no fool. | | 23 |
| 5232128702 | Loose sentence/non-periodic sentence | A type of sentence in which the main idea (independent clause) comes first, followed by dependent 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, or conversational. Generally, loose sentences create loose style. The opposite of a loose sentence is the periodic sentence. Example: I arrived at the San Diego airport after a long, bumpy ride and multiple delays. The writer could stop at: "I arrived at the San Diego airport." | | 24 |
| 5232128704 | Synecdoche | 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 things itself (or vice versa).
Ex. Farmer Jones has two hundred head of cattle, and three hired hands. If we had some wheels, I'd put on my best threads and ask for Jane's hand in marriage. | | 25 |
| 5232128705 | Metonymy | (mĕtŏn′ ĭmē) 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. For example, a news release that claims "the White House declared" rather than "the President declared" is using metonymy; Shakespeare uses it to signify the male and female sexes in As You Like It: "doublet and hose ought to show itself courageous to petticoat." The substituted term generally carries a more potent emotional impact. | | 26 |
| 5232128710 | 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. (Think of the beginning of Dickens' Tale of Two Cities: "It was the best of times, it was the worst of times....") | | 27 |
| 5232128711 | 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: ("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. -Adapted from V. Stevenson, Patrick Henry High School, and Abrams' Glossary of Literary Terms | | 28 |
| 5232128712 | Parody | A work that closely imitates the style or content of another with the specific aim of comic effect and/or ridicule. It exploits peculiarities of an author's expression (propensity to use too many parentheses, certain favorite words, etc.). Well-written parody offers enlightenment about the original, but poorly written parody offers only ineffectual imitation, nuances of the newer work. Occasionally, however, parodies take on a life of their own and don't require knowledge of the original. | | 29 |
| 5232128713 | Pedantic | An adjective that describes words, phrases, or general tone that is overly scholarly, academic, or bookish (language that might be described as "show-offy," using big words for the sake of using big words). | | 30 |
| 5232128714 | Periodic sentence | The opposite of loose 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. The effect of a periodic sentence is to add emphasis and structural variety. It is also a much stronger sentence than the loose sentence. (Ex: After a long, bumpy flight and multiple delays, I arrived at the San Diego airport.) | | 31 |
| 5232128716 | Point of view | In literature, the perspective from which a story is told. There are two general divisions of point of view, and many subdivisions within those. (1) first person narrator tells the story with the first person pronoun, "I," and is a character in the story. This narrator can be the protagonist, a secondary character, or an observing character. (2) third person narrator relates the events with the third person pronouns, "he," "she," and "it." There are two main subdivisions to be aware of: a. third person omniscient, in which the narrator, with godlike knowledge, presents the thoughts and actions of any or all characters b. third person limited omniscient, in which the narrator presents the feelings and thoughts of only one character, presenting only the actions of all the remaining characters. In addition, be aware that the term point of view carries an additional meaning. When you are asked to analyze the author's point of view, the appropriate point for you to address is the author's attitude. | | 32 |
| 5232128717 | Prose | One of the major divisions of genre, prose refers to fiction and nonfiction, including all its forms. In prose, the printer determines the length of the line; in poetry, the poet determines the length of the line. | | 33 |
| 5232128719 | Rhetoric | From the Greek for "orator," this term describes the principles governing the art of writing effectively, eloquently, and persuasively. | | 34 |
| 5232128720 | Rhetorical modes | This flexible term describes the variety, the conventions, and the purposes of the major kinds of writing. The four most common rhetorical modes (often referred to as "modes of discourse") 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, an additional aim of urging some form of action. (3) The purpose of description is to recreate, 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 an 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. -Adapted from V. Stevenson, Patrick Henry High School, and Abrams' Glossary of Literary Terms | | 35 |
| 5232128721 | 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 as a device, but not all ironic statements are sarcastic (that is, intended to ridicule). When well done, sarcasm can be witty and insightful; when poorly done, it is simply cruel. | | 36 |
| 5232128722 | 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 by the satirist: irony, wit, parody, caricature, often humorous, is thought provoking and insightful about the human condition. Some modern satirists include Joseph Heller (Catch 22) and Kurt Vonnegut (Cat's Cradle, Player Piano). | | 37 |
| 5232128723 | 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 features. 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, laconic, etc. (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 or the Victorian period, or a literary movement, such as the romantic, transcendental, or realist movement. | | 38 |
| 5232128724 | Subject complement | The word (with any accompanying phrases) or clause that follows a linking verb and complements, or completes, the subject of the sentence by either (1) renaming it (the predicate nominative) or (2) describing it (the predicate adjective). These are defined below: (1) the predicate nominative - a noun, group of nouns, or noun clause that renames the subject. It, like the predicate adjective, follows a linking verb and is located in the predicate of the sentence. Example: Julia Roberts is a movie star. movie star = predicate nominative, as it renames the subject, Julia Roberts (2) the predicate adjective -- an adjective, a group of adjectives, or adjective clause that follows a linking verb. It is in the predicate of the sentence, and modifies, or describes, the subject. Example: Warren remained optimistic. optimistic = predicate adjective, as it modifies the subject, Warren. | | 39 |
| 5232128725 | Subordinate clause | Like all clauses, this word group contains a subject/verb pair (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 (or independent clause) to complete its meaning. Easily recognized key words and phrases usually begin these clauses. For example: although, because, unless, if, even though, since, as soon as, while, who, when, where, how and that. Example: Yellowstone is a national park in the West that is known for its geysers. "that is known for its geysers" = subordinate clause | | 40 |
| 5232128726 | Syllogism | 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 first one called "major" and the second called "minor") that inevitably lead to a sound conclusion. A frequently cited example proceeds as follows: major premise: All men are mortal. minor premise: Socrates is a man. conclusion: Therefore, Socrates is a mortal. A syllogism's conclusion is valid only if each of the two premises is valid. Syllogisms may also present the specific idea first ("Socrates") and the general second ("all men"). -Adapted from V. Stevenson, Patrick Henry High School, and Abrams' Glossary of Literary Terms | | 41 |
| 5232128727 | Symbol/symbolism | Generally, anything that represents itself and stands for something else. Usually a symbol is something concrete -- such as an object, action, character, or scene - that represents something more abstract. Types: (1) natural symbols are objects and occurrences from nature to symbolize 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 and crossbones for pirates or the scale 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 more generally recognized. However, a work's symbols may be more complicated, as is 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. | | 42 |
| 5232128728 | 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 groups of words, while diction refers to the individual words. In the multiple choice section of the AP exam, 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. | | 43 |
| 5232128731 | 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 it were read aloud can help in identifying an author's tone. Some words describing tone are playful, serious, businesslike, sarcastic, humorous, formal, ornate, sardonic, somber, etc. | | 44 |
| 5232128732 | 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, on the contrary, etc. More sophisticated writers use more subtle means of transition. | | 45 |
| 5232128733 | 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. Example: Jonathan Swift's A Tale of a Tub: "Last week I saw a woman flayed, and you will hardly believe how much it altered her person for the worse." | | 46 |
| 5232128734 | Wit | In modern usage, intellectually amusing 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, it grew to mean quick perception including creative fancy and a quick tongue to articulate an answer that demanded the same quick perception. | | 47 |
| 5232128735 | Chiasmus | Chiasmus is a rhetorical device in which two or more clauses are balanced against each other by the reversal of their structures in order to produce an artistic effect.
"Never let a Fool Kiss You or a Kiss Fool You."
Closely related to antimetabole:
Ask not what your country
Can do for you,
But what you
Can do for your country | | 48 |
| 5232128736 | Parallelism (parallel syntax) | A pattern of language that creates a rhythm of repetition often combined with some other language of repetition.
Ex: When you are right, you cannot be too radical; when you are wrong, you cannot be too conservative. | | 49 |
| 5232128738 | Predicate nominative | A noun or pronoun that follows a linking verb and identifies or restates the subject of the sentence. Ex. My brother is a football player. | | 50 |
| 5232128739 | Predicate Adjective | An adjective that follows a linking verb and modifies the subject of the sentence. EX. The gigantic whirlpool was inky black, and there was no moon. | | 51 |
| 5232128741 | Rhetorical Question | A question whose answer is assumed, a rhetorical question is designed to force the reader to respond in a predetermined manner and is a significant tool in the study of rhetoric. One of the most basic purposes for rhetorical questions is cheerleading. Rhetorical questions, therefore, propel an argument emotionally. They often look like extensions of a logical argument, but more often than not, they are setting you up to agree with the writer. As with a parallel syntax, rhetorical questions are excellent devices to use in the development of your own essay writing. As graders, we notice when you use them if you use them to effectively nurture your argument. | | 52 |
| 5232128743 | Anadiplosis | Figure of repetition that occurs when the last word or terms in one sentence, clause, or phrase is/are repeated at or very near the beginning of the next sentence, clause, or phrase. | | 53 |
| 5232128744 | Anaphora | Figure of repetition that occurs when the first word or set of words in one sentence, clause, or phrase is/are repeated at or very near the beginning of successive sentences, clauses, or phrases; repetition of the initial words over successive phrases or clauses. | | 54 |
| 5232128745 | Anecdote | A brief story that illustrates or makes a point | | 55 |
| 5232128746 | Antimetabole | Figure of emphasis in which the words in one phrase or clause are replicated, exactly or closely, in reverse grammatical order in the next phrase or clause; a chiasmus on the level of words (A-B, B-A). For example, "And so, my fellow Americans, ask not what your country can do for you; ask what you can do for your country" (JFK). | | 56 |
| 5232128747 | Assonance | Repetition of a vowel sound within two or more words in close proximity | | 57 |
| 5232128748 | Polysyndeton | Figure of addition and emphasis which intentionally employs a series of conjunctions 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. Ex. they read and studied and wrote and drilled. I laughed and talked in class and flunked. | | 58 |
| 5232128749 | Asyndeton | A series of words separated by commas (with no conjunction), e.g. "I came, I saw, I conquered." The parts of the sentence are emphasized equally; in addition, the use of commas with no intervening conjunction speeds up the flow of the sentence. | | 59 |
| 5232195715 | synesthesia | a sensory stimulus evokes the subjective stimulus of another
Ex. Sight of red ants makes you itchy, Red Hot Chili Peppers | | 60 |
