AP Language & Composition: Emerson and Thoreau Flashcards
Figurative language is language that is not intended to be taken LITERALLY but presents ideas in a different way. Sometimes rhetorical devices referred to as tropes and schemes. Tropes change or shift the meaning for clarity and comparison and schemes use patterns, especially sentence structures, to assist in creating meaning for the reader.
Terms : Hide Images [1]
| 1003037628 | Simile | a comparison using the words "like" or "as" | 0 | |
| 1003037629 | Metaphor | when two things are compared to each other but without the use of "like" or "as"; using the language of one thing to discuss something else | 1 | |
| 1003037630 | Personification | when a NON-HUMAN THING is given human-like traits or qualities to express an idea | 2 | |
| 1003037631 | Allusion | simply a reference to something, A reference to a well-known person, place, event, literary work, or work of art. | 3 | |
| 1003037632 | Analogy | relating to a concept by using more familiar terms; a comparison between an unfamiliar idea, thing, or situation and something the audience already understands; related to simile, but less figurative or more detailed in its comparison | 4 | |
| 1003037633 | Synecdoche | when PART of something REPRESENTS the WHOLE thing. (e.g. "the long arm of the law" | 5 | |
| 1003037634 | Metonymy | when something CLOSELY RELATED represents something else (e.g. "the man" = the police) | 6 | |
| 1003037635 | Apostrophe | when the speaker refers to a person indirectly though he/she/it is not present literally | 7 | |
| 1003037636 | Irony | A device that depends on the existence of at least two separate and contrasting levels of meaning embedded in one message. Verbal ___ is sarcasm when the speaker says something other than what they really mean. In dramatic ___ the audience is more aware than the characters in a work. Situational ___occurs when the opposite of what is expected happens. This type of irony often emphasizes that people are caught in forces beyond their comprehension and control. | 8 | |
| 1003037637 | Understatement | A figure of speech in which a writer or speaker says less than what he or she means; the opposite of exaggeration. | 9 | |
| 1003037638 | Litotes | A type of understatement in which an idea is expressed by negating its opposite (describing a particularly horrific scene by saying, "It was NOT a pretty picture.") | 10 | |
| 1003037639 | Satire | A literary tone (or an entire work) used to ridicule or critique human vice or weakness. | 11 | |
| 1003037640 | Participial phrase | Form of -ING or -ED verb phrase that acts as an adjective to a nearby noun. When it starts or interrupts the sentence, you use a comma or commas to separate it from the rest of the sentence. | 12 | |
| 1003037641 | Syntax | Arrangement of words in phrases and sentences | 13 | |
| 1003037642 | Juxtaposition | An act or instance of placing close together or side by side, especially for comparison or contrast | 14 | |
| 1003037643 | Generalization | A conclusion which is drawn from specific information; used to make a broad statement about a topic or person. | 15 | |
| 1003037644 | Inductive reasoning | Decision making process in which ideas are processed from specific ideas or facts to general conclusions (a+a+a+a+a+a...=b) | 16 | |
| 1003037645 | Deductive reasoning | Decision making process in which ideas are processed from general ideas or facts to a specific idea based off of those generalizations. (a+b=c) | 17 | |
| 1003037646 | Rhetorical shift | Refers to a change or movement in a piece resulting from an epiphany, realization, or insight gained by the speaker, a character, or the reader; generally accompanied by diction and other language and style shifts | 18 | |
| 1004832006 | Asyndeton | A construction in which elements are presented in a series without conjunctions | 19 | |
| 1004832007 | Polysyndeton | Deliberate use of many conjunctions in close succession, especially where some might be omitted. Hemingway and the Bible both use extensively. Ex. "He ran and jumped and laughed for joy." | 20 | |
| 1004832008 | Paradox | A statement or proposition that seems self-contradictory or absurd but in reality expresses a possible truth. | 21 | |
| 1004832009 | Ellipsis | Deliberate omission of a word or of words which are readily implied by the context. "The streets were deserted, the doors bolted." | 22 | |
| 1004832011 | Parallelism | Also referred to a________l construction, It refers to the grammatical or rhetorical framing of words, phrases, sentences, or paragraphs to give structural similarity. This can involve repetition of a grammatical element such as a prepositional phrases, or verbal phrases, independent clauses, etc. | 23 | |
| 1004839958 | 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). | 24 | |
| 1004839959 | Chiasmus | A statement consisting of two parallel parts in which the second part is structurally reversed ("Susan walked in, and out rushed Mary.") Not to be confused with antimetabole, which is the reversal of EXACT SAME words in the sentence, while ----- will reverse grammatical structure only. | 25 | |
| 1004846504 | Concession | An acknowledgement that an opposing argument may be true or reasonable. In a strong argument, this is usually accompanied by a refutation challenging the validity of the opposing argument. | 26 | |
| 1004846505 | Anticipate objections | the technique a writer/speaker uses in an argumentative text to address and answer opposing arguments, even though the audience or opponent has not had the opportunity to voice these yet; used to disarm and rob your opposition | 27 | |
| 1006499886 | Logos | An appeal to logic irintellect; achieved by providing valid and relevant facts which support the speaker's position | 28 | |
| 1006499887 | Pathos | A Greek term that refers to suffering but has come to be associated with broader appeals to emotion; one of Aristotle's three rhetorical appeals | 29 | |
| 1006499888 | Ethos | A Greek term referring to the character of a person; one of Aristotle's three rhetorical appeals; an appeal to ethics or morality; characteristic or attribute of person, group (culture) or time period | 30 | |
| 1006499889 | Pun | A rhetorical term for playing with words, as in "I have a mind to join a club and beat you over the head with it." Also called paranomasia. | 31 | |
| 1006499890 | Conceit | An elaborate or strikingly unusual comparison--especially one using unlikely metaphors, simile, hyperbole, and contradiction; sometimes far-fetched | 32 | |
| 1006499891 | Argument by example | takes smaller, specific instance(s) and shows the existence of a general principle | 33 | |
| 1006499892 | Anecdote | A brief story offered in a text to support a generalization of claim; usually personal | 34 | |
| 1006521437 | Extended metaphor | A metaphor that is developed over several lines of writing or throughout an entire work | 35 | |
| 1006521438 | Diction | A speaker or writer's choice of words (formal, informal, colloquial, full of slang, poetic, ornate, plain, abstract, concrete, etc.); this device has a powerful effect on tone and helps characterize the speaker/writer | 36 | |
| 1006521439 | Periodic sentence | A complex sentence that presents its central meaning in a main clause at the end. A subordinate clause comes first, then ends with the main clause, so meaning is delayed until the very end of the sentence. | 37 | |
| 1006521440 | Loose sentence | A sentence structure in which a main clause is followed by subordinate phrases and clauses. Contrast with periodic sentence. | 38 | |
| 1006521441 | Antecedent | A word, phrase, or clause to which a following pronoun refers. Ex: Iris tried, but she couldn't find the book. (Iris is the ________) | 39 | |
| 1006525968 | Hyperbole | purposeful exaggeration for effect | 40 | |
| 5692359604 | Antithesis | the opposition or contrast of ideas; the direct opposite | 41 | |
| 5692372735 | Connotation | The non-literal, associative meaning of a word; the implied, suggested meaning. ------may involve ideas, emotions or attitudes | 42 | |
| 5692388907 | Denotation | The strict, literal, dictionary definition of a word, devoid of any emotion, attitude, or color | 43 | |
| 5692413396 | Figurative Language | Writing or speech that is not intended to carry literal meaning and is usually meant to be imaginative and vivid; for example, metaphor, simile, personification | 44 | |
| 5692423589 | Imagery | The sensory details or figurative language used to describe, arouse emotion, or represent abstractions. On a physical level, --- uses terms related to the five senses: visual, auditory, tactile, gustatory, and olfactory. | 45 | |
| 5692450971 | Prose | One of the major divisions of genre, ---refers to fiction and nonfiction, including all its forms. This is basically anything that is not poetry | 46 | |
| 5692457055 | Rhetoric | From the Greek for "orator," this term describes the principles governing the art of writing effectively, eloquently, and persuasively | 47 | |
| 5692467682 | Rhetorical Modes | This flexible term describes the purposes of the major kinds of writing. The four most common --- are: (1) exposition (to explain and analyze information) (2) persuasion and argumentation (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) description (to recreate, invent, or visually present) (4) narration (to tell a story or narrate an event). | 48 | |
| 5692485900 | Syllogism | From the Greek for "reckoning together," a --- is a deductive system of formal logic that presents two premises ("major" and "minor") that inevitably lead to a sound conclusion: Major premise: All men are mortal. Minor premise: Socrates is a man. Conclusion: Therefore, Socrates is a mortal. A ---'s conclusion is valid only if each of the two premises is valid. --- may also present the specific idea first ("Socrates") and the general second ("all men"). | 49 |