AP English Language Vocab Flashcards
*=not included in quizzes
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| 4673833542 | Abstract Language* | Language describing ideas and qualities rather than observable or specific things, people, places. The observable or "physical" is usually described in concrete language. | 0 | |
| 4673838905 | Active Voice* | The subject of the sentence performs the action. This is a more direct and preferred style of writing in most cases, but not all. (ex. The boy grabbed his books and went to school.) (See also, passive voice) | 1 | |
| 4673843279 | Ad hominem* | Latin for "against the man." When a writer personally attacks his or her opponents instead of their arguments. It is an argument that appeals to emotion rather than reason, feeling rather than intellect. | 2 | |
| 4673848494 | Allegory | A story, fictional or nonfictional, in which characters, things, and events represent qualities or concepts. The interaction of these characters, things, and events is meant to reveal an abstraction or a truth. These characters, etc. may be symbolic of the ideas referred to. For example, and author may intend the characters to personify an abstraction like hope or freedom. | 3 | |
| 4673856845 | Alliteration | The repetition of initial identical consonant sounds. Or, vowel sounds in successive words or syllables that repeat. | 4 | |
| 4673859256 | Allusion | An indirect reference to something (usually a literary text, although it can be other things commonly known such as plays, movies, t.v. shows) with which the readers are supposed to be familiar. Allusion is often used with humorous intent, to establish a connection between writer and reader, or to make a subtle point. (ex. "He met his Waterloo.") | 5 | |
| 4673864600 | Ambiguity | An event or situation that may be interpreted in more than one way. Also, the manner of expression of such an event or situation may be ambiguous. Artful language may be ambiguous. Unintentional ambiguity is usually vagueness. | 6 | |
| 4673866739 | Anadiplosis | Beginning a sentence or clause by repeating the last word or words of the previous sentence or clause. Repetition of the words adds rhythm and cadence. The repeated words are emphasized. (ex. "Fear is the path to the Dark Side. Fear leads to anger. Anger leads to hate. Hate leads to suffering." -Yoda) | 7 | |
| 4673869744 | Analogy | A comparison to a directly parallel case. When a writer uses an analogy, he or she argues that a claim reasonable for one case is reasonable for the analogous case. | 8 | |
| 4673872253 | Anaphora | Repetition of a word, phrase, or clause at the beginning of two or more sentences in a row. This is a deliberate form of repetition and helps make the writer's point more coherent. | 9 | |
| 4673873172 | Anecdote* | A brief recounting of a relevant episode. Anecdotes are often inserted into fictional or nonfictional texts as a way of developing a point or injecting humor. | 10 | |
| 4673874521 | Annotation* | Explanatory notes added to a text to explain, cite sources, or give bibliographical data. | 11 | |
| 4673875289 | Antecedent | 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. (ex. "If I could command the wealth of all the world by lifting my finger, I would not pay such a price for it." An AP question might read: "What it the antecedent for 'it'?") | 12 | |
| 4673880006 | Anticlimax | Using a sequence of ideas that abruptly diminish in importance at the end of a sentence, generally for satirical effect. (ex. "He has seen the ravages of war, he has known natural catastrophes, he has been to singles bars." -Woody Allen, "Speech to the Graduates") | 13 | |
| 4673884525 | Antimetabole | Reversal of the order of repeated words or phrases to present alternatives or to provide contrast (ABBA). (ex. "I can write better than anybody who can write faster, and I can write faster than anybody who can write better." -A.J. Liebling) | 14 | |
| 4673888222 | Antithesis | Two opposite or contrasting words, phrases, or clauses, or even ideas. (ex. "Bill's work in school was the antithesis of his sister's. Her homework was tidy and on time, while Bill's was sloppy and late." or "Darkness or the antithesis of light." or "New York is the antithesis of Nome Alaska.") | 15 | |
| 4673891868 | Aphorism | A terse statement which expresses a general truth or moral principle. An aphorism can be a memorable summation of the author's point. It's often equated as a synonym of "adage" or "saying" or "proverb." (ex. Ben Franklin wrote many of these in Poor Richard's Almanac such as "God helps them that help themselves." Other examples include: "A watched pot never boils." or "Nothing comes to those who wait.") | 16 | |
| 4673897635 | Apostrophe | A figure of speech that directly addresses an absent or imaginary person or personified abstraction, such as liberty or love. The effect may add familiarity or emotional intensity. (ex. William Wordsworth addresses John Milton as he writes, "Milton thou shouldest be living in this house: England hath need of thee.") | 17 | |
| 4673900899 | Appositive* | A word or group of words placed beside a noun or noun substitute to supplement its meaning. (ex. "Bob, the lumber yard worker, spoke with Judy, an accountant from the city.") | 18 | |
| 4673903579 | Archetype | A detail, image, or character type that occurs frequently in literature and myth and it thought to appeal in a universal way to the unconscious and to evoke a response. An original pattern or model after which all things like it are modeled. A perfect example of a type or group. | 19 | |
| 4673909360 | Argumentation | To prove the validity of an idea, or a point of view, by presenting good sound reasoning, discussion, and argument to convince the reader. Persuasive writing is a type of argumentation having the additional aim of urging some sort of action. | 20 | |
| 4673914048 | Assonance | Repetition of a vowel sound within two or more words in close proximity. | 21 | |
| 4673916615 | 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 foreshadows events. | 22 | |
| 4673919766 | Asyndeton | Consists of emitting conjunctions between words, phrases, or clauses. This can give the effect of unpremeditated multiplicity, of an extemporaneous rather than labored account. Asyndetic lists can be more emphatic than is a final conjunction were used. (ex."On his return he received medals, honors, treasures, titles, fame." or "They spent the day wondering, searching, thinking, understanding.") | 23 | |
| 4673923977 | Causal Relationship | A writer asserts that one thing results from another. To show how one thing produces or brings about another is often relevant in establishing a logical argument. | 24 | |
| 4673925406 | Clause | A grammatical unit that contains both a subject and a verb. An independent, or main, clause expresses a complete thought and can stand alone as a sentence. A dependent, or subordinate, clause cannot stand alone as a sentence and must be accompanied by an independent clause. (ex. "Other than baseball, football is my favorite sport." In this sentence, the independent clause is "football is my favorite sport" and the dependent clause is "Other than baseball.") | 25 | |
| 4673928317 | Cliche* | An expression that has been overused to the extent that its freshness has worn off. (ex. "A penny saved is a penny earned.") | 26 | |
| 4673929592 | Colloquial | Ordinary or familiar type of conversation. | 27 | |
| 4673930086 | Colloquialism* | A common or familiar type of saying. | 28 | |
| 4673930629 | Complex Sentence | A sentence composed of at least one main clause and one subordinate clause. | 29 | |
| 4673931250 | Concession* | Accepting at least part or all of an opposing viewpoint. It is futile to deny a solid point. Rather, a concession is used to regroup and restate your position, taking the concession into account. (See qualification.) | 30 | |
| 4673934437 | Concrete Language* | Language that describes specific, observable things, people, or places, rather than ideas or qualities. | 31 | |
| 4673935257 | Connotation | Rather than the dictionary definition (denotation), the associations suggested by a word. Implied meaning rather than literal meaning. (ex. Policeman, Cop, Johnny Law, all denote the same meaning of Police Officer, but each has a different connotation or impression.) (See denotation) | 32 | |
| 4673937676 | Consonance* | Repetition of a consonant sound within two or more words within close proximity. | 33 | |
| 4673938095 | Coordination* | "Coordinating" or combining sentences/clauses into one single sentence. By doing so, the author gives both clauses equal importance. Moreover, the two clauses should be related and reinforce each other. (ex. "Give me liberty or give me death!" -Patrick Henry) DO NOT hook together ideas which are superficially tied together, but are otherwise unrelated. (ex. "President Clinton served in office for eight years, and Abraham Lincoln wore a stove pipe hat when he was President.") | 34 | |
| 4673943806 | Cumulative Sentence or Loose Sentence | A complex sentence in which the main clause comes first and the subordinate clause follows. (ex. "I do not wish to go to school, even though I might learn something interesting.") | 35 | |
| 4673947292 | Deduction (deductive reasoning) | Moving from general statements we accept as true, to an inevitable conclusion. Then the general statements are true, and the reasoning valid, then the conclusion is certainly true. (ex. "All men are mortal. Socrates is a man. Therefore, Socrates is mortal.") (See also, Syllogism) | 36 | |
| 4673952761 | Denotation | To signify or stand as a name for. The explicit meaning of a word. (ex. Policeman means Officer of the Law. If you referred to the Policeman as a Cop, it still denotes the same literal meaning, but the word "cop" has a different connotation.) (See also, connotation) | 37 | |
| 4673955112 | Description* | To recreate, invent, or visually present a person, place, event, or action so that the reader can picture that being described. Good descriptive writing creates a picture which involves the five senses. | 38 | |
| 4673961273 | Diction | Word choice, particularly as an element of style. Different types and arrangements of words have significant effects on meaning. An essay written in academic diction would be much less colorful, but perhaps more precise than street slang. You should be able to describe an author's diction. (You SHOULDN'T write in your thesis, "The author uses diction...". This is essentially saying, "The author chooses words to write." Instead describe the type of diction: formal or informal, ornate or plain.) | 39 | |
| 4673965718 | Didactic | A term used to describe fiction, nonfiction, or poetry that teaches a specific lesson or moral or provides a model of correct behavior or thinking. | 40 | |
| 4674011399 | Double Entendre* | A figure of speech in which a spoken phrase is devised to be understood in either of two ways. Often the first (more obvious) meaning is straightforward, while the second meaning is less so: often risqué or ironic. (ex 1. "If I Said You Had a Beautiful Body Would You Hold It Against Me" by The Bellamy Brothers, which is based on an old Groucho Marx quote, where the person being talked to is asked, by one interpretation if they would be offended, and by the other, if they would press their body against the person doing the talking.) (ex 2. Rapper JayZ is well known for his musical triple entendres. In the song, "So Appalled", he says "Not only am I fly, I'm f'ing not plane" using the word "plane" literally not to be being an airplane, the homophone of not being plain like other rappers, and another homophone of the word playing or "playin'" the phrase "I'm not playin'" to mean that he is serious of not playing with other rappers.) | 41 | |
| 4674024061 | Discourse | Spoken or written language including literary works. The four modes of discourse are: description, narration, exposition, and argumentation. | 42 | |
| 4674026822 | Elegy | A formal poem presenting a meditation on death or another solemn theme. | 43 | |
| 4674030214 | Ellipsis* | The deliberate omission of a word from prose done for effect by the author. (ex 1. "Let us, then, take up the sword, trusting in God who will defend the right, remembering that these are days than days of yore; (remembering) that the world is on the side of universal freedom.) (ex 2. "It was almost nightfall. The whole day (there was) rain, torrents of rain.") | 44 | |
| 4674045301 | Emotional Appeal (Pathos) | When a writer appeals to an audience's emotions to excite and involve them in the argument. | 45 | |
| 4674049108 | Epanalepsis | Repetition at the end of a clause or sentence of the word or phrase with which it began: a combination of anaphora and epistrophe. (ex 1. "Next time there won't be a next time." -Phil Leotardo in The Sopranos) (ex 2. "Always Low Prices. Always." -Walmart slogan) | 46 | |
| 4674059980 | Epigraph* | A quotation or aphorism at the beginning of a literary works suggestive of theme. | 47 | |
| 4674060920 | Epistrophe | The repetition of a word at the end of successive clauses or sentences. (ex. "...of the people, by the people, for the people.") | 48 | |
| 4674062895 | Epithet* | A term used to point out a characteristic of a person. Homeric epithets are often compound adjectives ("swift footed Achilles) that become an almost formulaic part of a name. Epithets can be abusive or offensive but are not so by definition. (ex. Athletes may be proud of their given epithets ("The Rocket"). | 49 | |
| 4674068633 | Ethical Appeal (Ethos) | When a writer tries to persuade the audience to respect and believe him based on presentation of image of self through the text. | 50 | |
| 4674070406 | Euphemism | A more agreeable or less offensive substitute for generally unpleasant words or concepts. Sometimes they are used for political correctness (ex. "physically challenged" instead of "disabled"). Sometimes they are used to exaggerate correctness to add humor (ex. a person who is "vertically challenged" is often referred to as being "short.") | 51 | |
| 4674078289 | Explication* | The act of interpreting or discovering the meaning of a text. Attention to close reading and figurative language. | 52 | |
| 4674080340 | Exposition | To explain and analyze information by presenting an idea, relevant evidence, and appropriate discussion. | 53 | |
| 4674086105 | False Analogy | When two cases are not sufficiently parallel to lead readers to accept a claim of connection between them. | 54 | |
| 4674089198 | Figurative Language* | A word or words that are inaccurate literally but call to mind sensation or evoke reactions. Metaphors, similes. (ex. "All the world's a stage." -Shakespeare) | 55 | |
| 4674095265 | Flat Character* | (aka static character) A character who embodies a single quality and does not develop in the course of a story. | 56 | |
| 4674098421 | Foreshadowing | The presentation of material in such a way that the reader is prepared for what is to come later in the work. | 57 | |
| 4674100107 | Frame Device | A story within a story. (ex. Chaucer's Canterbury Tales, in which the primary tales are told within the "frame story" of the pilgrimage to Canterbury.) | 58 | |
| 4674102809 | Genre* | The major category into which a literary work fits. the basic divisions of literature are prose, poetry, and drama. However, genres can be subdivided as well (poetry can be classified into lyric, dramatic, narrative, etc.). The AP language exam deals primarily with the following genres: autobiography, biography, diaries, criticism, essays, and journalistic, political, scientific, and nature writing. | 59 | |
| 4674111062 | Homily | This term literally means "sermon," but more informally, it can include any serious talk, speech, or lecture involving moral or spiritual advice. | 60 | |
| 4674131730 | Hyperbole | Figurative language that exaggerates. It is often used in comedy, or to create irony. (ex. "We saw a gas station every five feet when the tank was full, but when we finally needed gas, there wasn't a station for a thousand miles.") | 61 | |
| 4674133414 | Imagery | Word or words that create a picture in the reader's mind. Usually this involves the five senses. Authors often use imagery in conjunction with metaphors, similes, figures of speech to convey information about characters. | 62 | |
| 4674135376 | Induction | The process of reasoning from premises that constitute good, but not absolutely certain, reasons to a conclusion that is probably correct. It involves bringing together pieces of evidence, and arriving at a conclusion. (ex. "I want to buy new shoes. I've had five pairs of Nikes and never had any foot problems. Reeboks gave me blisters, and Adidas made my ankles hurt. Therefore, I should probably buy Nikes.") | 63 | |
| 4674139461 | Inference/Infer | To draw reasonable conclusion from the information presented. When a multiple choice question asks for an inference to be drawn from the 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 IN THE TEXT, IT IS NOT INFERRED, AND IS WRONG. | 64 | |
| 4674143026 | Interrogative Sentence* | Sentences incorporating interrogative pronouns (what, which, who, whom, and whose). (ex. "What in the world are you doing hanging out with him?") | 65 | |
| 4674147299 | Invective | An emotionally violent, verbal denunciation or attack using strong, abusive language. | 66 | |
| 4674149559 | Imperative Sentence | Issues a command. (ex. "Kick the ball now!") | 67 | |
| 4674150134 | Irony | When the opposite of what you expect to happen does. | 68 | |
| 4674150431 | Verbal Irony | When you say something and mean the opposite/something different. (ex. If your gym teacher wants you to run a mile in eight minutes or faster, but calls it a "walk in the park," it would be verbal irony. If your voice tone is bitter, it's called sarcasm.) | 69 | |
| 4674156105 | Dramatic Irony | When the audience of a drama, play, movie, etc. knows something that the character doesn't and would be surprised to find out. (ex. In many horror movies, the audience knows who the killer is, which the victim to be has no idea who is doing the slaying. Sometimes the character trusts the killer completely when (ironically) he/she shouldn't.) | 70 | |
| 4674164449 | Situational Irony | Found in the plot (or storyline) of a book, story, or movie. Sometimes it makes you laugh because it's funny how things turn out. (ex. Johnny spent two hours planning on sneaking into the movie theater and missed the movie. When he did finally manage to sneak inside he found out that kids were admitted free that day.) | 71 | |
| 4674170238 | Juxtaposition | Placing things side by side for the purposes of comparison. Comparison of things or ideas. Authors often use juxtaposition of ideas or examples in order to make a point. (ex. An author may juxtapose the average day of a typical American with that of someone in the third world in order to make a point of social commentary.) | 72 | |
| 4674174799 | Malapropism | The mistaken substitution of one word for another that sounds similar. (ex. "The doctor wrote a subscription.") | 73 | |
| 4674176300 | Metaphor | A figure of speech using implied comparison of seemingly unlike things or the substitution of one for another, suggesting some similarity. Usually identified by comparing objects directly, using words like "was" or "is." (ex. "The wicked stepmother was evil. She was a cold hearted snake.") | 74 | |
| 4674179816 | Metonymy | Substituting the name of one object for another object closely associated with it. (ex. "The pen is mightier than the sword" or "I love Shakespeare.") | 75 | |
| 4674181899 | Mood | The atmosphere create by the literature and accomplished through word choice (diction). Syntax is often a creator of mood since word order, sentence length, and strength and complexity also affect pacing and therefore mood. Setting, tone, and events can all affect the mood. | 76 | |
| 4674184915 | Motif | A standard theme, element, or dramatic situation that recurs in various works. | 77 | |
| 4674187932 | Non Sequitur | Statement that does not logically follow another. | 78 | |
| 4674188568 | Objectivity* | An author's stance that distances himself from personal involvement. | 79 | |
| 4674192084 | Onomatopoeia | A figure of speech in which natural sounds are imitated in the sounds of the words. When the word sounds like the idea it communicates: "murmur," "gurgle," "roar," "buzz." If you identify this in a passage, make sure to explain WHY the author chose to use it... how does it impact the passage. | 80 | |
| 4674195502 | Oversimplification | When the writer denies the complexity of an idea. | 81 | |
| 4674196224 | Oxymoron | A rhetorical antithesis. (ex. "wise fool," "eloquent silence," "jumbo shrimp.") Apparently contradictory terms are grouped together and suggest a paradox. | 82 | |
| 4675250740 | Paradox | A seemingly contradictory statement which is actually true. An idea which embeds a contradiction. (ex. "You can't get a job without experience, and you can't get experience without getting a job.") | 83 | |
| 4675254516 | Parallelism | (aka Parallel Construction) Sentence construction which places equal grammatical constructions near each other or repeats patterns two or more times. IT IS THE REPETITION OF STRUCTURE NOT THE REPETITION OF IDEAS IN DIFFERENT WORDS. It may involve two or three modifiers in a row or repeated beginnings of longer sentences. The author might repeat a preposition, or verbal phrase. (ex. Charles Dickens' novel "A Tale of Two Cities" begins with "It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness..etc...etc.") Parallelism is used to add emphasis, organization, or sometimes pacing to a persuasive speech. (ex. "I came, I saw, I conquered." -Julius Caesar; "She looked tired, frustrated, and disgusted."; (notice the parallel construction of each part, as they are laid out in each new line: "A new generation of Americans born in this century tempered by war disciplined by a hard and bitter peace proud of their ancient heritage.") | 84 | |
| 4675268976 | Parenthetical Idea* | Parentheses are used to set off an idea from the rest of the sentence. It is almost considered an aside... a whisper, and should be used sparingly for effect, rather than repeatedly. Parentheses can also be used to set off dates and numbers. (ex. "In a short time (and the time is getting shorter by the gallon) America will be plum out of oil.") | 85 | |
| 4675276722 | Parody | An exaggerated imitation of a serious work for humorous purposes. It borrows words or phrases from an original, and pokes fun at it. This is also a form of allusion, since it is referencing a previous text, event, etc. (ex. The Simpsons often do parodies of Shakespeare plays. Saturday Night Live also does parodies of famous persons and events.) | 86 | |
| 4675281744 | Passive Voice* | The subject of the sentence receives the action. The passive voice is often overused, leaving writing to seem lifeless. When possible, focus on using active voice. (ex. "The books were grabbed by the boy on his way out the door.") (See also, active voice) | 87 | |
| 4675288139 | Pathos | The quality in a work that prompts the reader to feel emotion. | 88 | |
| 4675290382 | Pedantic* | (adj.) Observing strict adherence to formal rules or literal meaning at the expense of a wider view. This can also refer to the author's tone, as overly scholarly or academic. | 89 | |
| 4675291576 | Periodic Sentence | A sentence in which the main clause (or main idea) comes last. (ex. (notice this sentence is also parallel in construction) "If students are absorbed in their own limited worlds, if they are disdainful of the work of their teachers, if they are scornful of the lessons of the past, then the great cultural heritage which must be transmitted from generation to generation will be lost.") | 90 | |
| 4675298075 | Persona* | The fictional mask or narrator that tells a story. | 91 | |
| 4675298362 | Personification | A type of figurative language which attributes human qualities to nonhuman subjects. (ex. "The ocean roared in anger at the ship and its crew.") | 92 | |
| 4675299927 | Persuasive Writing* | A type of argumentation having the additional aim of urging some form of action. | 93 | |
| 4675304594 | Point of View | The perspective from which a narrative is told. | 94 | |
| 4675305103 | First Person/Limited Narrator | A narrator speaks as "I." A narrator who presents the story as it is seen and understood by a single character and restricts information to what is seen, heard, thought, or felt by that one character. | 95 | |
| 4675307064 | Third Person | A narrator refers to other characters as he, she, they. The readers know the actions, thoughts, and feelings of more than one character. | 96 | |
| 4675309435 | Omniscient Narrator | A narrator who is able to know, see, and tell all, including the inner thoughts and feelings of the characters. | 97 | |
| 4675310362 | Predicate Adjective* | An adjective, group of adjectives, or adjective clause that follows a linking verb. It is in the predicate of the sentence. (ex. "My dog is fat, slow, and shaggy." The group of predicate adjectives ("fat, slow, and shaggy") describe "my dog.") | 98 | |
| 4675328764 | Predicate Nominative* | A noun, group of nouns, or noun clause that renames the subject. It follows a linking verb and is located in the predicate of the sentence. (ex. "My dog is a mutt with character." In this case, "mutt with character" is the predicate nominative since it renames "my dog.") | 99 | |
| 4675347410 | Polysyndeton | A rhetorical term for a sentence style that employs many coordinating conjunctions. (Opposite of asyndeton.) (ex. "[I]t is respectable to have no illusions and safe and profitable and dull." -Joseph Conrad, Lord Jim, 1900) | 100 | |
| 4675351658 | Pun | A play on words that are identical or similar in sound but have diverse meanings. Puns can have serious as well as humorous uses. (ex. When Mercutio is bleeding to death in Romeo and Juliet, he says to his friends, "Ask for me tomorrow, and you shall find a grave man.") | 101 | |
| 4675354677 | Qualification | Redefining your argument so that it no longer conflicts with the valid claim of an opposing viewpoint (see concession). This is known as qualifying your argument. | 102 | |
| 4675358511 | Refutation | When the writer musters relevant opposing arguments. | 103 | |
| 4675365628 | Repetition | Reinforcing a point by repeating the point. Repetition can also involve simply repeating a word or series of words which are fundamental to the author's point. | 104 | |
| 4675366835 | Rhetoric | The art of effective communication. | 105 | |
| 4675369223 | Rhetorical Question | Question not asked for the information but for effect. (ex. "The angry parent asked the child, 'Are you done interrupting me?'" In this case, the parent does not expect a reply, but simply wants to draw the child's attention to the rudeness of interrupting.) | 106 | |
| 4675372219 | Sarcasm | A generally bitter comment that is ironically worded. However, not all ironic statements are sarcastic. Sarcasm is usually a way to mock or ridicule something, while irony isn't. | 107 | |
| 4675373402 | Satire | A work that reveals a critical attitude toward some element of life to a humorous effect. It targets human vices and follies, or social institutions and conventions. It usually uses wit, irony, parody, caricature, hyperbole, sarcasm. Good satire is not only funny, but thought provoking. (ex. Kurt Vonnegut has written many great satires.) | 108 | |
| 4675379112 | Semantics* | The nature, structure, development, and changes of the meaning of speech forms or with contextual meanings. (ex. The word "gay" has undergone a dramatic and unusually rapid set of shifts. Just a few generations ago this word was typically used in the sense of "lively, happy." It then came to designate "homosexual," and a phrase such as "gay film" would be interpreted in this sense.) | 109 | |
| 4675388731 | Sentences* | A group of words (including a subject and a verb) that express a complete thought. | 110 | |
| 4675392544 | Simple Sentence* | Contains one independent clause. | 111 | |
| 4675392905 | Compound Sentence* | Contains at least two independent clauses but no dependent clauses. | 112 | |
| 4675393361 | Compound Complex Sentence* | Contains two or more independent clauses and at least one dependent clause. | 113 | |
| 4675394626 | Balanced Sentence* | One in which two parallel elements are set off against each other like equal weights on a scale. Both parts are parallel grammatically. (ex. "If a free society cannot help the many who are poor, it cannot save the few who are rich." -J.F. Kennedy) | 114 | |
| 4675396449 | Simile | A figurative usage that compares. It usually uses the words such as "like," "as," or "if." (ex. Comparing someone to a summer's day.) | 115 | |
| 4675398542 | Style | The choices in diction, tone, and syntax that a writer makes. Style may be conscious or unconscious. | 116 | |
| 4675399547 | Subordination* | Taking less important ideas and placing them in dependent clauses, and focusing the reader's attention on the main important idea and placing it in the independent clause. (ex. "Although he was tired and wet, Bill was determined to get to school on time." In this example, the most important piece of information to the reader is that Bill is determined to get to school on time. The fact that he was tired and wet is subordinate to this main idea.) | 117 | |
| 4675403901 | Subordinate Clause* | A word group that contains both a subject and a verb, but unlike the independent clause, cannot stand alone. It does not express a complete thought. Easily recognized key words and phrases usually begin these clauses (although, because, unless, if, even though, since, as soon, as, while, who, when, where, how, and that.) | 118 | |
| 4675406714 | Syllogism | A deductive system of formal logic that presents two premises, the first one "major" and the second one "minor," that inevitably lead to a sound conclusion. (ex. Major premise: "All men are mortal." Minor premise: "Socrates is a man." Conclusion: "Therefore, Socrates is mortal.") A syllogism's conclusion is valid only if each of the two premises is valid. | 119 | |
| 4675411259 | Symbol/Symbolism | Anything that represents or stands for something else. Usually a symbol is something concrete such as an object, actions, or character that represents something more abstract. (ex. the whale in Moby Dick, the river and the jungle in Heart of Darkness, and the Raven in The Raven.) | 120 | |
| 4675415893 | Synecdoche | A form of metaphor. In synecdoche, a part of something is used to signify the whole thing. (ex. "All hands on deck.") Also, the reverse, whereby the whole can represent a part, is synecdoche. (ex. "Canada played the United States in the Olympic hockey finals.") Another form of synecdoche involves the container representing the thing that is being contained. (ex. "The pot is boiling.") In one last form of synecdoche, the material from which an object is made stands for the object itself. (ex. "The quarterback tossed the pigskin.") | 121 | |
| 4675423291 | Synesthetic Imagery | Detail that moves from the stimulation of one sense to a response of another sense. (ex. A certain odor induces the visualization of a certain color. Visual stimulus produces a sound: "the cinnamon beat of the music.") | 122 | |
| 4675426598 | Syntax | Grammatical arrangement of words. This is perhaps one of the most difficult concepts to master. (First, a reader should examine the length of sentences (short or long). How does sentence length and structure relate to tone and meaning? Are they simple, compound, compound complex sentences? How do they relate to one another?) Syntax is the grouping of words, while diction refers to the selection of individual words | 123 | |
| 4675438372 | Theme* | The central idea of message of a work. The theme may be directly stated in nonfiction works, although not necessarily. It is rarely stated directly in fiction. | 124 | |
| 4675440079 | Thesis | The sentence or group of sentences that directly express the author's opinion, purpose, meaning, or proposition. It should be short and clear. A thesis is NOT a series of cold facts. A restatement of the obvious. | 125 | |
| 4675442101 | Tone | A writer's attitude toward his subject matter revealed through diction, figurative language, and organization. (To identify tone, consider how the piece would sound read aloud or how the author wanted it to sound aloud. Tone can be: playful, serious, businesslike, sarcastic, humorous, formal, somber, etc.) | 126 | |
| 4675445238 | Topic Sentence* | It either expresses the main point or outright makes that point unmistakably clear. It tells the reader what the following paragraph will be about. (ex. "The vanity of older people is an easier weakness to explain, and to condone.") | 127 | |
| 4675448927 | Transition* | Smooth movement from one paragraph or idea to another. Words and ideas are used to connect tow distance and separate ideas and/or paragraphs. (A few commonly used transitional words or phrases are: furthermore, consequently, nevertheless, for example, in addition, likewise, similarly, and on the contrary.) | 128 | |
| 4675452816 | Understatement (Meiosis) | The ironic minimizing of fact, understatement presents something as less significant than it is. The effect can frequently be humorous. | 129 | |
| 4675454575 | Vernacular | 1. Language or dialect of a particular country. 2. Language or dialect of a clan or group. 3. Plain everyday speech. | 130 | |
| 4675459710 | Attitude* | A writer's intellectual position or emotion regarding the subject he or she is writing on. (Expect to be asked in the essay section what the writer's attitude is and how their language conveys that attitude. Often the author's attitude will be complex, and students who are able to identify and explain this complexity will score higher on the exam than those who do not. Of course, you'll need to support your position regarding the author's attitude with evidence from the text.) | 131 | |
| 4675467174 | Concrete Detail* | On the exam, directions may read something like: "Provide concrete detail that will convince the reader." This means that your essay should include detail in the passage. | 132 | |
| 4675469563 | Descriptive Detail* | When an essay question uses this phrase, look for the writer's sensory description. Descriptive detail appealing to the visual sense is usually the most predominant, but don't overlook other sensory detail. As usual, after you identify a passage's descriptive detail, analyze its effect. | 133 | |
| 4675471732 | Devices* | The figures of speech, syntax, diction, and other stylistic elements that collectively produce a particular artistic effect. | 134 | |
| 4675472736 | Language* | When you're asked to "analyze the language," concentrate on how the elements of language combine to form a whole. How diction, syntax, figurative language, and sentence structure create a cumulative effect. | 135 | |
| 4675474475 | Narrative Devices* | This term describes the tools of the storyteller, such as ordering events so that they build to a climactic moment or withholding information until a crucial or appropriate moment when revealing it creates a desired effect. (On the essay exam, this term may also apply to biographical and autobiographical writing.) | 136 | |
| 4675477816 | Narrative Technique* | Related to Narrative Devices, this refers to the style of telling the "story," even if the passage is nonfiction. Concentrate on the order of events and on their detail in evaluating a writer's technique. | 137 | |
| 4675479622 | Persuasive Devices* | When asked to analyze an author's persuasive devices, looks for the words in the passage that have strong connotations and intensify the emotional effect. In addition, analyze HOW these words complement the writer's argument as it builds logically. Speeches are often used in this context, since they are generally designed to persuade. | 138 | |
| 4675482209 | Persuasive Essay* | When asked to write a persuasive essay, you should present a coherent argument in which the evidence builds to a logical and relevant conclusion. Strong persuasive essays often appeal to the audience's emotions or ethical standards. | 139 | |
| 4675485478 | Resources of Language* | This phrase refers to all the devices of composition available to a writer, such as diction, syntax, sentence structure, and figures of speech. The cumulative effect of a work is produced by the resources of language a writer chooses. | 140 | |
| 4675488428 | Rhetorical Figures* | This phrase refers to how a passage is constructed. If asked to consider rhetorical structure, look at the passage's organization and ow the writer combines images, details, or arguments to serve his or her purpose. | 141 | |
| 4675490880 | Sentence Structure* | When an essay question asks you to analyze sentence structure, look at the type of sentences the author uses. Remember that the basic sentence structures are simple, compound, and complex, and variations created with sentence combining. Also consider variation or lack of it in sentence length, and unusual devices in sentence construction, such as repetition or inverted word order, and any unusual word or phrase placement. As with all devices, be prepared to discuss the effect of the sentence structure. (ex. A series of short, simple sentences or phrases can produce a feeling of speed and choppiness, which may suit the author's purpose.) | 142 | |
| 4675498422 | Stylistic Devices* | An essay that mentions stylistic devices is asking you to note and analyze all the elements in a language that contribute to style such as diction, syntax, tone, attitude, figures of speech, connotations, and repetition. | 143 | |
| 4675499864 | Understatement* | A figure of speech in which a writer or speaker deliberately makes a situation seem less important or serious than it is. Contrast this with hyperbole. (ex. The Black Night has his arm cut off entirely by King Arthur. His response that "It's just a flesh wound" is an understatement.) | 144 |
