| 5577538627 | abstract and concrete | *abstract : words that refer to ideas, conditions, and qualities we cannot directly perceive (e.x. truth, love, courage, evil, poverty, progressive)*
concrete : words that indicate things we can know with our senses (e.x. tree, chair, bird, pen, motorcycle, perfume, thunderclap) for they lend vigor and clarity to help picture things | | 0 |
| 5577575113 | active voice | *the form of the verb when the sentence subject is the actor*
Trees [subject] shed [active verb] their leaves in autumn.
*contrasts PASSIVE VOICE* | | 1 |
| 5577649243 | allude, allusion | *to refer to a person, place, or thing believed to be common knowledge (allude,) or to act or result of doing so (allusion)*
may point to a famous event, a familiar saying, a noted personality, a well-known story or song | | 2 |
| 5577663586 | analogy | *an extended comparison based on the like features on two unlike things: one familiar or easily understood, the other unfamiliar, abstract, or complicated* | | 3 |
| 5577693653 | analyze, analysis | *to separate a subject into its parts (analyze), or to act or result of doing so (analysis, also called division)*
key skill in CRITICAL THINKING, READING, AND WRITING; considered a method of development | | 4 |
| 5577708962 | anecdote | *a brief NARRATIVE, or retelling of a story or event*
has many uses: as essay openers or closers, as examples, as sheer entertainment | | 5 |
| 5577714875 | appeals | *resources writers draw on to contact with and persuade readers:*
*rational appeal:* asks readers to use their intellects and powers of reasoning; relies on established conventions of logic and evidence
*emotional appeal:* asks readers to respond out of their beliefs, values, or feelings; inspires, affirms, frightens, angers
*ethical appeal:* asks readers to look favorably on the writer; stresses the writer's intelligence, competence, fairness, morality, and other qualities desirable in a trustworthy debater or preacher | | 6 |
| 5577780119 | argument | *a mode of writing intended to win readers' agreement with an assertion by engaging their powers of reasoning*
often overlaps with PERSUASION | | 7 |
| 5577790105 | assume, assumption | *to take something for granted (assume), or a belief or opinion taken for granted*
whether stated or unstated, assumptions influence a writer's choice of subject, viewpoint, evidence, and even language | | 8 |
| 5604704756 | audience | *a writer's readers*
having in mind a particular audience helps the writer in choosing strategies
*Who are to be your readers? What is their age level? background? education? Where do they live? What are their beliefs and attitudes? What interests them? What, if anything, sets them apart from most people? How familiar are they with your subject?* | | 9 |
| 5604707249 | cause and effect | *a method of development in which a writer ANALYZES reasons for an action, event, or decision, or analyzes its consequences* | | 10 |
| 5604710020 | chronological order | *the arrangement of events as they occurred or occur in time, first to last*
many NARRATIVES and PROCESS ANALYSES use this | | 11 |
| 5604715943 | claim | *the proposition that an ARGUMENT demonstrates*
Toulmin favors this term in his system of reasoning
*in some discussions of argument, the term THESIS is used instead* | | 12 |
| 5604720408 | classification | *a method of development in which a writer sorts out plural things (contact sports, college students, kinds of music, etc.) into categories* | | 13 |
| 5604744993 | cliché | *a worn-out, trite expression that a writer employs thoughtlessly*
although at one time the expression may have been colorful, from heavy use it has lost its luster
*alert writers, when they revise, replace a cliché with a fresh, concrete expression* | | 14 |
| 5604749816 | coherence | *the clear connection of the parts in effective writing so that the reader can easily follow the flow of ideas between sentences, paragraphs, and larger divisions, and can see how they relate successively to one another*
certain devices useful: TRANSITIONS and the formation of a clear relationship between its THESIS and all its parts | | 15 |
| 5604756543 | colloquial expressions | *words and phrases occurring primarily in speech and in informal writing that seeks a relaxed, conversational tone*
contractions (we'll, let's, don't) and abbreviated words (photo, sales rep, ad) are the shorthand of spoken language
*good writers use such expressions with an awareness that they produce an effect of casualness* | | 16 |
| 5604799759 | conclusion | *the sentences or paragraphs that bring an essay to a satisfying and logical end*
is purposefully crafted to give a sense of unity and completeness to the whole essay
*best conclusions evolve naturally out of what has gone before and convince the reader that the essay is indeed at an end, not that the writer has run out of steam*
although there are no set formulas for closing, the following presents several options: restate the thesis of your essay, and perhaps your main points, mention the broader implications or significance of your topic, give a final example that pulls all the parts of your discussion together, offer a prediction, end with the most important point as the culmination of your essay's development, suggest how the reader can apply the information you have imparted, end with a bit of drama or flourish (tell an ANECDOTE, offer an appropriate quotation, ask a questions, make a final insightful remark; keep in mind, however, that an ending shouldn't sound false and gimmicky; it truly has to conclude) | | 17 |
| 5604873305 | comparison and contrast | *two methods of development usually found together*
using them, a writer examines the similarities and differences between two things to reveal their natures | | 18 |
| 5604929326 | concrete | *see ABSTRACT AND CONCRETE*
concrete : words that indicate things we can know with our senses (e.x. tree, chair, bird, pen, motorcycle, perfume, thunderclap) for they lend vigor and clarity to help picture things | | 19 |
| 5604933220 | connotation and denotation | *two types of meanings most words have*
*denotation:* the explicit, literal, dictionary definition of a word
*connotation:* refers to a word's implied meaning, resonant with associations
blood: (denotation) the fluid that circulates in the vascular system; (connotations) life force, gore, family bond | | 20 |
| 5604960636 | critical thinking, reading, and writing | *a group of interlocking skills that are essential for college work and beyond*
each seeks the meaning beneath the surface of a statement, poem, editorial, picture, advertisement, Web site, or other "text"
*using ANALYSIS, INFERENCE, SYNTHESIS, and often EVALUATIONS, the critical thinker, reader, and writer separates this text into its elements in order to see and judge meanings, relations, and ASSUMPTIONS that might otherwise remain buried* | | 21 |
| 5604987061 | data | *the name for EVIDENCE favored by logician Stephen Toulmin in his system of reasoning* | | 22 |
| 5604994698 | deductive reasoning, deduction | *the method of reasoning from the general to the particular*
from information about what we already know, we deduce what we need or want to know
*the process is usually demonstrated in the form of syllogism: major premise, minor premise, conclusion* | | 23 |
| 5605005970 | definition | *a statement of the literal and specific meaning or meanings of a word, or method of developing an essay*
in the latter, the writer usually explains the nature of a word, a thing, a concept, or a phenomenon
*such a definition may employ NARRATION, DESCRIPTION, or any other method | | 24 |
| 5605022083 | denotation | *see CONNOTATION AND DENOTATION*
*denotation:* the explicit, literal, dictionary definition of a word | | 25 |
| 5605037532 | description | *a mode of writing that conveys the evidence of the senses: sight, hearing, touch, taste, smell* | | 26 |
| 5605042694 | diction | *the choice of words: every written or spoken statement contains diction of some kind*
to describe certain aspects of diction, the following terms may be useful:
*standard English:* the common American language, words and grammatical forms that are used and expected in school, business, and other sites
*nonstandard English:* words and grammatical forms such as *theirselves* and *ain't* that are used by many people by who speak a dialect other than standard English
*dialect:* a variety of English based on differences in geography, education, or social background; is usually spoken but may be written
*slang:* certain words in highly informal speech or writing, or in the speech of a particular group (e.x. blow off, dis, dweeb)
*colloquial expressions:* words and phrases from conversation
*regional terms:* words heard in a certain locality, such as *spritzing* for "raining in Pennsylvania Dutch country
*techinical terms:* words and phrases that form the vocabulary of a particular discipline (*monocotyledon* from botany), occupation (*drawplate* from die-making), or avocation (*interval training* from running)
*archaisms:* old-fashioned expressions, once common but now used to suggest an earlier styles, such as *ere* and *forsooth*
*obsolete diction:* words that have passed out of use or no longer current (*werien:* to protect or defend, *isetnesses:* agreements, *fond:* foolish, *clipping:* hugging or embracing)
*pretentious diction:* use of words more numerous and elaborate than necessary, such as *institution of higher learning* for college, and *partake of solid nourishment* for eat | | 27 |
| 5605155003 | discovery | *the sate of writing process before the first draft*
may include deciding topic, creating or finding ideas, doing reading and other research, defining PURPOSE and AUDIENCE, planning and arranging material
*may follow from daydreaming or meditation, reading, or perhaps carefully ransacking memory*
involves considerable writing and is aided by the act of writing | | 28 |
| 5605177647 | division | *see ANALYZE, ANALYSIS*
to separate a subject into its parts (analyze), or to act or result of doing so (analysis, also called *division*)
*key skill in CRITICAL THINKING, READING, AND WRITING; considered a method of development* | | 29 |
| 5605190282 | dominant impression | *the main idea a writer conveys about a subject through DESCRIPTION*
e.x. an elephant is gigantic, an experience is scary | | 30 |
| 5605203619 | drafting | *the stage of the writing process during which a writer expresses ideas in complete sentences, links them, and arranges them in a sequence* | | 31 |
| 5605214728 | effect | *the result of an event or action, usually considered together with CAUSE as a method of development*
in discussing writing, the term also refers to the impression a word, sentence, paragraph, or entire work makes on the reader: how convincing it is, whether it elicits an emotional response, what association it conjures up, and so on | | 32 |
| 5605237272 | emotional appeal | *see APPEALS*
asks readers to respond out of their beliefs, values, or feelings; inspires, affirms, frightens, angers | | 33 |
| 5605241080 | emphasis | *the stress or special importance given to a certain point or element to make it stand out: a skillful writer draws attention to what is most important in a sentence, paragraph, or essay by controlling emphasis in any of the following ways:*
*proportion:* important ideas are given greater coverage than minor points
*position:* the beginnings and ends of sentences, paragraphs, and larger divisions are the strongest positions
*repetition:* careful repetition of key words or phrases can give them greater importance (careless repetition can cause boredom)
*mechanical devices:* italics (underlining), capital letters, and exclamation points can make words or sentences stand out | | 34 |
| 5605279660 | essay | *a short nonfiction composition on one central theme or subject in which the writer may offer personal views*
*formal essay:* DICTION is that of the written language (not colloquial speech), serious in TONE, and usually focused on a subject the writer believes is important
*informal essay:* more likely to admit COLLOQUIAL EXPRESSIONS; the writer's tone tends to be lighter, perhaps humorous, and the subject is likely to be personal, sometimes even trivial | | 35 |
| 5605306313 | ethical appeal | *see APPEALS*
asks readers to look favorably on the writer; stresses the writer's intelligence, competence, fairness, morality, and other qualities desirable in a trustworthy debater or preacher | | 36 |
| 5605310731 | euphemism | *the use of inoffensive language in place of language that the readers or listeners may find hurtful, distasteful, frightening, or otherwise objectionable*
police officer announcing how someone *passed on* instead on *died* | | 37 |
| 5605339003 | evaluate, evaluation | *to judge the merits of something (evaluate), or the act or result doing so (evaluation)
often part of CRUCIAL THINKING, READING, and WRITING
*you base your judgement on your ANALYSIS of it and your sense of its quality or value | | 38 |
| 5605352829 | evidence | *the factual basis for an argument or an explanation*
a writer's opinions and GENERALIZATIONS must rest upon evidence
common forms are *facts* (verifiable statements), *statistics* (facts stated numerically), *examples* (specific instances of a generalization), *reported experience* (usually eyewitness accounts), *expert testimony* (opinions of people considered very skilled or knowledgeable in the field), *quotations* or *paraphrases* from the work(s) being discussed | | 39 |
| 5605381591 | example | *also called EXEMPLIFICATION or ILLUSTRATION, a method of development in which the writer provides instances of a general idea* | | 40 |
| 5605388776 | exposition | *the mode of prose writing that explains (or exposes) its subject*
function is to inform, to instruct, or to set forth ideas
*may call various methods to its service: EXAMPLE, COMPARISON AND CONTRAST, PROCESS ANALYSIS, and so on | | 41 |
| 5605402187 | fallacies | *errors in reasoning* | | 42 |
| 5605405864 | figures of speech | *expressions that depart from the literal meanings of words for the sake of emphasis or vividness*
*simile:* (from the Latin, "likeness") states the comparison directly, usually connecting the two things using *like, as, than* (e.x. "The moon is like a snowball")
*metaphor:* (from the Greek, "transfer") declares one thing to *be* another (e.x. "the sheep were bolls of cotton on the hill")
*dead metaphor:* word or phrase that, originally a figure of speech, has come to be literal through common usage (e.x. "the hands of a clock")
*personification:* simile or metaphor that assigns human traits to inanimate objects or abstractions (e.x. "the solution to the math problem sat there and winked at me")
other figures of speech consist of deliberate misrepresentations:
*hyperbole:* (from the Greek, "throwing beyond) a conscious exaggeration (e.x. "I'd wait for your a thousand years")
*understatement:* creates an ironic or humorous effect (e.x. "I accepted the ride. At that moment, I didn't feel like walking across the Mojave Desert.")
*paradox:* (from the Greek, "conflicting with expectation) seemingly self-contradictory statement that, on reflection makes sense (e.x. "Children are the poor man's wealth") | | 43 |
| 5605495474 | flashback | *a technique of NARRATIVE in which the sequence of events is interrupted to recall an earlier period* | | 44 |
| 5605501275 | focus | *the narrowing of a subject to make it manageable*
beginning with a general subject, you concentrate on a certain aspect of it
*you also focus your writing according to AUDIENCE or PURPOSE | | 45 |
| 5605509740 | general and specific | *terms that describe the relative number of instances or objects included in the group signified by a word*
*general* words name a group or class (e.x. flowers)
*specific* words limit the class by naming its individual members (e.x rose, violet, dahlia, marigold)
see also ABSTRACT and CONCRETE | | 46 |
| 5605533437 | generalization | *a statement about a class based on an examination of some of its members*
the more members examined and the more representative they are of the class, the sturdier the generalization
*words such as all, every, only, never, and always should be used with care
involves the use of INDUCTIVE REASONING | | 47 |
| 5605548306 | hyperbole | *see FIGURES OF SPEECH*
(from the Greek, "throwing beyond) a conscious exaggeration
*"I'd wait for your a thousand years"* | | 48 |
| 5605554989 | illustration | *another name for EXAMPLE*
a method of development in which the writer provides instances of a general idea | | 49 |
| 5605561892 | image | *a word or word sequences that evoke(s) a sensory experience*
whether literal or figurative, it appeals to the reader's memory of seeing, hearing, smelling, touching, or tasting
*add concreteness to fiction or to bring ideas down to earth* | | 50 |
| 5605583652 | inductive reasoning, induction | *the process of reasoning to a conclusion about an entire class by examining some of its members*
a logical process whereby the writer reasons from particulars to universals, using specific cases in order to draw a conclusions, which is also called a generalization | | 51 |
| 5605588335 | infer, inference | *to draw a conclusion (infer), or to act or result doing so (inference)*
in CRITICAL THINKING, READING, and WRITING, it means to understanding a writer's meaning, ASSUMPTIONS, PURPOSE, fairness, and other attributes | | 52 |
| 5605597667 | introduction | *the opening of a written work: often states the subject, narrows it, and communicates the main idea (THESIS)*
a few possible ways to open an essay effectively:
state your central idea, or thesis, perhaps showing why you care about it; present startling facts about your subject; tell an illustrative ANECDOTE; give background info that will help your reader understand your subject, or see why it is important; begin with an arresting quotation; ask a challenging question (answer in essay) | | 53 |
| 5605620615 | irony | *a manner of speaking or writing that does not directly state a discrepancy, but implies one*
*verbal irony:* the intentional use of words to suggest a meaning other than literal (e.x."What a mansion!" when talking about a shack)
*sarcasm:* irony delivered contemptuously with an intent to hurt
*situational irony:* circumstances themselves are incongruous, run contrary to expectations, twist fate
see also SATIRE | | 54 |
| 5605642041 | jargon | *strictly speaking, the special vocabulary of a trade or profession*
can also mean inflated, vague, meaningless language of any kind
*characterized by wordiness, ABSTRACTIONS galore, pretentious DICTION, and needlessly complicated word order* | | 55 |
| 5605654206 | journal | *a record of one's thoughts, kept daily or at least regularly*
can faithfully help a writer gain confidence and develop ideas | | 56 |
| 5605661221 | metaphor | *see FIGURES OF SPEECH*
(from the Greek, "transfer") declares one thing to *be* another (e.x. "the sheep were bolls of cotton on the hill" )
*dead metaphor:* word or phrase that, originally a figure of speech, has come to be literal through common usage (e.x. "the hands of a clock") | | 57 |
| 5605668527 | narration | *the mode of writing that tells a story* | | 58 |
| 5605670718 | narrator | *the teller of a story, usually either in the first PERSON (I) or in the third (he, she, it, they)* | | 59 |
| 5605677740 | nonstandard English | *see DICTION*
words and grammatical forms such as *theirselves* and *ain't* that are used by many people by who speak a dialect other than standard English | | 60 |
| 5605682601 | objective and subjective | *kinds of writing that differ in emphasis*
*objective writing:* the emphasis falls on the topic (factual journalism, science reports, certain PROCESS ANALYSES [e.x. recipes, directions, instructions], and logical arguments in which the writer attempts to downplay personal feelings and opinions
*subjective writing:* it falls of the writer's view on the topic (writer's feelings and opinions, friendly letters, journals, bylined feature stories and columns in newspapers, personal essays, and ARGUMENTS that appeal to emotion) | | 61 |
| 5605709312 | paradox | *see FIGURES OF SPEECH*
(from the Greek, "conflicting with expectation) seemingly self-contradictory statement that, on reflection makes sense (e.x. "Children are the poor man's wealth" ) | | 62 |
| 5605714230 | paragraph | *a group of closely related sentences that develop a central idea*
possess UNITY and COHERENCE; central idea stated in TOPIC SENTENCE or THESIS that is supported by other sentences | | 63 |
| 5605726750 | parallelism, parallel structure | *keeping ideas of equal importance in similar grammatical form*
Trees and streams are my weekend tonic (place nouns side by side)
*Give me wind, sea, and stars (place nouns in a series)*
Out of my bed, into my shoes, up to my classroom- that's my life (phrases also)
*Ask not what your country can do for you; ask what you can do for your country (clauses too)* | | 64 |
| 5605742417 | paraphrase | *putting another writer's thoughts into your own words* | | 65 |
| 5605746299 | passive voice | *the form of the verb when the sentence subject is acted upon*
The report (subject) was published (passive voice) anonymously. | | 66 |
| 5605754611 | person | *a grammatical distinction made between the speaker, the one spoken to, and the one spoken about*
first person (I, we) has the subject speaking; second person (you) has the subject being spoken to; third person (he, she, it, they) has the subject being spoken about
*see POINT OF VIEW | | 67 |
| 5605771190 | personification | *see FIGURES OF SPEECH*
simile or metaphor that assigns human traits to inanimate objects or abstractions (e.x. "the solution to the math problem sat there and winked at me") | | 68 |
| 5605775779 | persuasion | *a mode of writing intended to influence people's actions by engaging their beliefs and feelings*
often overlaps ARGUMENT | | 69 |
| 5605780339 | plagiarism | *the use of someone else's ideas or words as if they were your own, without acknowledgement of the original author* | | 70 |
| 5605786142 | point of view | *the physical position or the mental angle from which a writer beholds a subject* | | 71 |
| 5605791894 | premise | *a proposition or ASSUMPTION that supports a conclusion* | | 72 |
| 5605795243 | process analysis | *a method of development that most often explains step by step how something is done or how to do something* | | 73 |
| 5605799947 | purpose | *a writer's reason for trying to convey a particular idea (THESIS) about a particular subject to a particular AUDIENCE* | | 74 |
| 5605810218 | rational appeal | *see APPEALS*
asks readers to use their intellects and powers of reasoning; relies on established conventions of logic and evidence | | 75 |
| 5605813888 | revision | *the stage of the writing process during which a writer "re-sees" a draft from the viewpoint of a reader*
usually involves two steps: considering fundamental matters such as PURPOSE and organization and error-free sentences | | 76 |
| 5605820791 | rhetoric | *the study (and the art) of using language effectively: has a negative CONNOTATION of empty or pretentious language meant to waffle, stall, or even deceive* | | 77 |
| 5605827106 | rhetorical question | *a question posed for effect, one that requires no answer*
provokes thought, lends emphasis to a point, asserts or denies something without making a direct statement, launches further discussion, introduces an opinion, or leads the reader where the writer intends | | 78 |
| 5605843062 | sarcasm | *see IRONY*
*sarcasm:* irony delivered contemptuously with an intent to hurt | | 79 |
| 5605848160 | satire | *a form of writing that employs wit to attack folly*
purpose is not to merely entertain: bring about enlightenment or even reform
*see also IRONY* | | 80 |
| 5605854131 | scene | *in a NARRATIVE, an event retold in detail to re-create an experience* | | 81 |
| 5605858521 | sentimentality | *a quality sometimes found in writing that fails to communicate*
calls for a extreme emotional response on the part of an AUDIENCE, although its writers fails to supply adequate reason for any such reaction
*writers shut their eyes to the actual world, preferring to snuffle the sweet scents of remembrance
e.x. great-grandmother's portrait, empty popcorn box saved from the World Series of 1996, the first stick of chewing gum a baby chewed (now a shapeless wad) | | 82 |
| 5605874604 | simile | *see FIGURES OF SPEECH*
(from the Latin, "likeness") states the comparison directly, usually connecting the two things using *like, as, than* (e.x. "The moon is like a snowball") | | 83 |
| 5605899544 | slang | *see DICTION*
certain words in highly informal speech or writing, or in the speech of a particular group (e.x. blow off, dis, dweeb) | | 84 |
| 5605905078 | specific | *see GENERAL AND SPECIFIC*
words limit the class by naming its individual members (e.x rose, violet, dahlia, marigold)
*see also ABSTRACT and CONCRETE* | | 85 |
| 5605910104 | standard English | *see DICTION*
the common American language, words and grammatical forms that are used and expected in school, business, and other sites | | 86 |
| 5605913128 | strategy | *whatever means a writer employs to write effectively*
methods mentioned in the book, narrowing a subject, organizing ideas clearly, using TRANSITIONS, writing with an awareness of your reader, and other effective writing practices | | 87 |
| 5605923464 | style | *the distinctive manner in which a writer writes: may be choice of words and sentence structures*
gives the work a personality | | 88 |
| 5605928078 | subjective | *see OBJECTIVE AND SUBJECTIVE*
it falls of the writer's view on the topic (writer's feelings and opinions, friendly letters, journals, bylined feature stories and columns in newspapers, personal essays, and ARGUMENTS that appeal to emotion) | | 89 |
| 5605931997 | summarize, summary | *to condense a work (essay, movie, news story) to its essence (summarize), or the act or result of doing so (summary)*
writing in one's own words in an effective way to understand it to support your ideas | | 90 |
| 5605941894 | suspense | *often an element in NARRATION: the pleasurable expectation or anxiety we feel that keeps us reading a story* | | 91 |
| 5605946047 | syllogism | *a three-step form of reasoning that employs DEDUCTION* | | 92 |
| 5605948587 | symbol | *a visible object or action that suggests further meaning: evokes a whole constellation of associations* | | 93 |
| 5605952195 | synthesize, synthesis | *to link elements into a whole (synthesize) or the act ir result of doing so (synthesis)*
in CRITICAL THINKING, READING, AND WRITING, synthesis is the key step during which you reassemble a work you have ANALYZED or connect the work with others | | 94 |
| 5605958653 | thesis | *the central idea in a work of writing, to which everything else in the work refers*
each sentence and PARAGRAPH in an effective essay serve to support the thesis and make it clear and explicit to readers
often set down a *thesis statement* or *thesis sentence* to help define the purpose | | 95 |
| 5605967044 | tone | *the way a writer expresses his or her regard for the subject, AUDIENCE, or self*
through word choice, sentence structures, and what is actually said, the writer conveys an attitude and sets a prevailing spirit | | 96 |
| 5605972571 | topic sentence | *the statement of the central idea in a PARAGRAPH, usually asserting one aspect of an essay's THESIS*
often at beginning (or near) of the paragraph, announcing the idea and beginning its development
*a way to create UNITY: all other sentences in the paragraph explain and support this* | | 97 |
| 5605983285 | transitions | *words, phrases, sentences, or even paragraphs that relate ideas: moves the topic to the next*
a clear purpose, strong ideas, and logical development certainly aid COHERENCE, but good writers must provide signals
*repeat or restate words or phrases to produce an echo in the reader's mind; use PARALLEL STRUCTURE to produce a rhythm that moves the reader forward; use pronouns to refer back to nouns in earlier passages; use transitional words or phrases | | 98 |
| 5605995807 | understatement | *see FIGURES OF SPEECH*
creates an ironic or humorous effect (e.x. "I accepted the ride. At that moment, I didn't feel like walking across the Mojave Desert.") | | 99 |
| 5605998471 | unity | *the quality of good writing in which all parts relate to the THESIS*
all words, sentences, and PARAGRAPHS support the single central idea
*state your THESIS, organize your thoughts | | 100 |
| 5606003333 | voice | *the sense of the author's character, personality, and attitude that comes through the words*
see TONE | | 101 |
| 5606006414 | warrant | *the name in Stephen Toulmin's system of reasoning for the thinking, or ASSUMPTION, that links DATA and CLAIM* | | 102 |
| 5606015996 | ad hominem | *Latin for "against the man," this fallacy refers to the specific diversionary tactic of switching the argument from the issue at hand to the character of the other speaker*
if you argue that a park in your community should not be renovated f because the person supporting it was arrested during a domestic dispute, then you are guilty of ad hominem | | 103 |
| 5606027381 | 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"*
You should vote to elect Rachel Johnson- she has a strong lead in the polls! (Polling higher doesn't mean she is the "best" candidate, only the most popular) | | 104 |
| 5606035142 | appeal to false authority | *this fallacy occurs when someone who has no expertise to speak on an issue is cited as an authority*
a TV star is not a medical expert, even though pharmaceutical advertisements often use celebrity endorsements | | 105 |
| 5606042836 | backing | *in Toulmin's model, backing consists of further assurances or data without which the assumption lacks authority* | | 106 |
| 5606045160 | 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
*Giving students easy access to a wealth of facts and resources online allows them to develop critical thinking skills.* | | 107 |
| 5606053296 | circular reasoning | *a fallacy in which the writer repeats the claim as a way to provide evidence*
You can't give me a C; I'm an A student! | | 108 |
| 5606059288 | claim of fact | *asserts that something is true or not true*
The number of suicides and homicides committed by teenagers, most often young men, has exploded in the last three decades... -Anna Quindlen | | 109 |
| 5606062957 | claim of policy | *propose a change*
Yet one solution continues to eludes us, and that is ending the ignorance about mental health, and moving it from the margins of care and into the mainstream where it belongs... -Anna Quindlen | | 110 |
| 5606069045 | claim of value | "argues that something is good or bad, right or wrong"
There's a plague on all our houses, and since it doesn't announce itself with lumps or spots or protest marches, it has gone unremarked in the quiet suburbs and bus cities where it has been laying waste... -Anna Quindlen | | 111 |
| 5606094634 | close thesis | *a statement of the main idea of the argument that also previews the major points the writer intends to make*
The 3D characters, exciting plot, and complex themes of the Harry Potter series make them not only legendary children's books, but also enduring literary classics. | | 112 |
| 5606109035 | either/or (false dilemma) | *a fallacy in which the speaker presents two extreme options as the only possible choices*
Either we agree to higher taxes, or our grandchildren will be mired in debt. | | 113 |
| 5606112904 | faulty analogy | *a fallacy that occurs when an analogy compares two things that are not comparable* | | 114 |
| 5606114625 | first-hand evidence | *based on something the writer knows, whether it's from personal experience, observations, or general knowledge of events* | | 115 |
| 5606117401 | hasty generalization | *a fallacy in which a faulty conclusion is reached because of inadequate evidence*
Smoking isn't bad for you; my great aunt smoked a pack a day and lived to be 90. | | 116 |
| 5606121400 | logical fallacy | *potential vulnerabilities or weaknesses in an argument*
often arise from a failure to make a logical connection between the claim and the evidence used to support it | | 117 |
| 5606129604 | open thesis | *one that does not list all the points the writer intends to cover in an essay*
The popularity of the Harry Potter series demonstrates that simplicity trumps complexity when it comes to the taste of readers, both young and old. | | 118 |
| 5606133955 | post hoc ergo propter hoc | *Latin for "after which therefore because of which"*
it is incorrect to always claim that something is a cause just because it happened earlier: correlation doesn't mean causation | | 119 |
| 5606138377 | qualifier | *in the Toulmin model, the qualifier uses words like usually, probably, maybe, in most cases, and most likely to temper the claim, making it less absolute* | | 120 |
| 5606142279 | quantitative evidence | *includes things that can be measured, cited, counted, or otherwise represented in numbers*
surveys, polls, census info | | 121 |
| 5606144263 | rebutal | *gives voice to possible objections* | | 122 |
| 5606145572 | reservation | *explains the terms and conditions necessitated by the qualifier* | | 123 |
| 5606153818 | second-hand evidence | *accessed through research, reading, and investigation*
includes factual and historical info, expert opinion, and quantitative data | | 124 |
| 5606158240 | straw man | *a fallacy that occurs when a speaker chooses a deliberately poor or oversimplified example in order to ridicule and refute an idea* | | 125 |
| 5606160957 | Toulmin model | *an approach to analyzing and constructing arguments created by British philosopher Stephen Toulmin in his book (The Uses of Argument) in 1958*
because (evidence as support), therefore (claim), since (warrant or assumption), on account of (backing), unless (reservation)
*Because it is raining, therefore I should probably take my umbrella, since it will keep me dry on account of its waterproof material, unless, of course, there is a hole in it. | | 126 |
| 5608935993 | antithesis | *when parallelism is used to juxtapose words, phrases, or clauses that contrast*
Place *your virtues* on a pedestal; place *your vices* under a rock. | | 127 |
| 5608935994 | antimetabole | *a scheme similar to antithesis, in which words are repeated in different grammatical forms*
Ask not what *your country* can do for you - ask what you can do for your country. (clause subject/object of preposition) | | 128 |
| 5608935995 | chiasmus | *a term often used interchangeably with the antimetabole, the "criss-cross" or "reversible raincoat"*
You may have see how a man was made a slave; you shall see how a slave was made a man. | | 129 |
| 5608935996 | parenthesis | *insertion of material that interrupts the typical flow of a sentence*
The woman (actually my sister) screamed at us to leave. | | 130 |
| 5608935997 | appositive | *words a writer uses to interrupt the sentence, to provide necessary, on-the-spot info*
My guest, the national tennis champion, natutally beat me 6-0. | | 131 |
| 5610804150 | aphorism | *a short saying embodying a general truth or astute observation*
No pains without gains. | | 132 |
| 5610804151 | digression/aside | *a temporary departure from the topic* | | 133 |
| 5610804152 | ellipsis | *any omission of words, the meaning of which is provided by the overall content of the passage* | | 134 |
| 5610804153 | asyndeton | *leaving out words to accelerate the rhythm* | | 135 |
| 5610804154 | anaphora | *repetition of a word or group of words at the beginning of successive sentences (similar to parallelism)*
*Exercise builds stamina* in teens;*excercise builds stamina* in older adults. | | 136 |
| 5611552138 | epistrophe | *repetition of a group of words at the end of successive clauses*
I thought *like an athlete*; I trained *like an athlete*; I ate *like an athlete.* | | 137 |
| 5611552139 | alliteration | *repetition of consonant sounds at the beginning of words* | | 138 |
| 5611552140 | assonance | *repetition of vowel sounds in words that do not rhyme*
a kind, reliable, right-minded man | | 139 |
| 5611552141 | anadiplosis | *repetition of the last words of one clause at the beginning of the following clause*
Mental preparation leads to training; training builds muscle tone. | | 140 |
| 5611552142 | climax | *repetition of words, phrases, or clauses in order of importance*
Excellent athletes need to be respectful of themsleves, their teammates, their schools, and their communities. | | 141 |
| 5611552143 | tautology | *needless repetition that adds nothing to meaning*
widow woman, free gift | | 142 |
| 5611552144 | metonymy | *an entity is referred to byoneof its attributes*
The White House announced... | | 143 |
| 5611552145 | synecdoche | *a part of something used to refer to the whole*
I have a new set of wheels. | | 144 |
| 5611552146 | apostrophe (a type of personification) | *the act of speaking directly to an absent or imaginary person, object, or abstraction*
Where is death's sting/ Where, grave, thy victory? | | 145 |
| 5611552147 | antonomasia (aka periphrasis) | *use of descriptive word or phrase to refer to a proper noun*
Big Apple for New York City | | 146 |
| 5611552148 | aphorism | *a concise statement expressing a general truth*
Necessity never made a good bargain. | | 147 |
| 5611552149 | pun | *a play on words, usually for humorous effect* | | 148 |
| 5611552150 | onomatopoeia | *sounds referring to meaning* | | 149 |
| 5611552151 | zeugma | *applies to expressions in which a single word (often a verb) connects two other words not related in meaning*
He maintained a business and his innocence. | | 150 |
| 5611552152 | litotes | *an understatement* | | 151 |
| 5611552153 | oxymoron | *words placed near each other that have apparently contradictory meanings*
tough love, honest businessman | | 152 |
