Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
77 Cards in this Set
- Front
- Back
Anecdote
|
A usually short narrative of an interesting, amusing, or biographical incident
|
|
Concession
|
When you show an audience that you have anticipated potential opposition and objections, and have an answer for them, you defuse the audience's ability to oppose you and persuade them to accept your point of view. If there are places where you agree with you opposition, conceding their points creates goodwill and respect without weakening your thesis
|
|
Deductive
|
Deductive reasoning works from the more general to the more specific. Sometimes this is informally called a "top-down" approach. We might begin with thinking up a theory about our topic of interest. We then narrow that down into more specific hypotheses that we can test. We narrow down even further when we collect observations to address our hypotheses. This ultimately leads us to be able to test the hypotheses with specific data-- a confirmation (or not) of our original theories.
|
|
Inductive
|
Inductive reasoning works the other way, moving from specific observations to broader generalizations and theories. Informally, we sometimes call this a "bottom up" approach. In inductive reasoning we begin with specific observations and measures, begin to detect patterns and regularities, formulate some tentative hypotheses that we can explore, and finally end up developing some general conclusions or theories.
|
|
Syllogism
|
In a syllogism the primary premise is a general statement. The primary premise is always universal, and may be positive or negative. The secondary premise may also be universal or particular so that from these premises it is possible to deduce a valid conclusion.Everything that live, moves (primary premise) No mountain moves (Secondary premise) No mountain lives (Conclusion)
|
|
Allegory
|
The expression by means of symbolic fictional figures and actions of truths or generalizations about human existence
|
|
Alliteration
|
The repetition of the same sound at the beginning of successive words
|
|
Allusion
|
A reference, explicit or implicit, to something in previous literature or history
|
|
Ambiguous
|
A word, phrase, or sentence whose meaning can be interpreted in more than one way
|
|
Analogy
|
An extended comparison between two things/instances/people etc. that share some similarity to make a point
|
|
Anaphora
|
Repetition of the same word or groups of words at the beginning of successive clauses, sentences, or lines.
|
|
Antithesis
|
A rhetorical contrast of ideas by means of parallel arrangements of words, clauses, or sentences
|
|
Aphorism
|
A brief saying embodying a moral, a concise statement of a principle or precept given in pointed words
|
|
Apostrophe
|
When an absent person, an abstract concept, or an important object is directly addressed
|
|
Appositive
|
A noun or noun phrase that renames another noun right beside it
|
|
Assonance
|
The repetition of vowel sounds but not constant sounds
|
|
Asyndeton
|
Conjunctions are omitted, producing a fast-paced and rapid prose
|
|
Audience
|
Part of your rhetorical situation (speaker, subject, audience); the person or persons to whom comments are direct (affects tone, meaning)
|
|
Bildungsroman
|
This genre of literature denotes the story of a single individual's growth and development within the context of a defined social order. The growth process, at its roots a quest story, has been described as both "an apprenticeship to life" and a "search for meaningful existence within society"
|
|
Cacophony
|
Harsh, discordant sounds. Opposite of euphony
|
|
Chiasmus
|
Repetition of ideas in inverted order
|
|
Climax
|
Writer arranges ideas in the order of importance
|
|
Colloquialism
|
Characteristic of spoken or written communication that seeks to imitate informal speech
|
|
Connotation
|
The set of associations implied by a word in addition to its literal meaning
|
|
Consonance
|
The repetition of constant sounds, but not vowels, as in assonance
|
|
Denotation
|
The literal meaning of a word, the dictionary meaning. Opposite of connotation
|
|
Detail
|
Facts that describe the noun, such as numbers, colors, locations, etc.
|
|
Dialect
|
A regional variety of language distinguished by features of vocabulary, grammar, and pronunciation from other regional varieties and constituting together with them a single language (Jim in Huck Finn)
|
|
Diction
|
A writer's choice of words, phrases, sentence structures, and figurative language, which combine to help create meaning
|
|
DidacticTone;
|
Instructional, designed to teach an ethical, moral, or religious lesson
|
|
ElegiacTone;
|
Of, relating to, or involving elegy or mourning or expression sorrow for that which is irrecoverably past
|
|
Ellipsis
|
The omission of one or more words that are obviously understood but that must be supplied to make a construction grammatically complete
|
|
Epistrophe
|
Ending a series of lines, phrases, clauses, or sentences with the same word or words. The opposite of anaphora
|
|
Euphemism
|
The substitution of an agreeable or inoffensive expression for one that may offend or suggest something unpleasant
|
|
Euphony
|
Soothing pleasant sounds. Opposite of cacophony. Example: O star (the fairest one in sight)
|
|
Extended Metaphor
|
Differs from a regular metaphor in that several comparisons similar in theme are being made
|
|
Figurative Language/Figures of Speech
|
Language used to create a special effect or feeling; most commonly alliteration, hyperbole, metaphor, etc.
|
|
Generalization
|
An idea or statement that emphasizes the general characteristics rather than the specific details of a subject
|
|
Hyperbole
|
Exaggeration done deliberately for emphasis
|
|
Imagery
|
the words or phrases a writer uses to represent objects, feelings, actions, or ideas; appeals to one or more of the five senses
|
|
Invective
|
Of, relating to, or characterized by insult or abuse
|
|
Verbal Irony:
|
Stating the opposite of what is said or meant
|
|
Situational Irony:
|
What happens is the opposite of what is expected
|
|
Dramatic Irony:
|
The audience is aware of something the characters onstage are unaware of
|
|
Juxtaposition
|
Placing two or more things side by side for comparison or contrast
|
|
Metaphor
|
An implied comparison between two unlike things
|
|
Metonymy
|
A figure of speech consisting of the use of the name of one thing for that of another of which it is an attribute or with which it is associated
|
|
Mood
|
The feeling a piece of literature arouses in the reader
|
|
Motif
|
A usually recurring salient thematic element especially a dominant idea or central theme
|
|
Onomatopoeia
|
The use of words whose sound reinforces their meaning
|
|
Oxymoron
|
A combination of contradictory or incongruous words ("cruel to be kind")
|
|
Pacing
|
Use when discussing organization; point out where action/syntax begins to speed up, slow down, is interrupted, etc.
|
|
Paradox
|
(ical statement)Apparently self-contradictory statement, the underlying meaning of which is revealed only by careful scrutiny. The purpose of a paradox is to arrest attention and provoke fresh thought
|
|
Parallel
|
(structure, parallelism)A repetition of sentences using the same grammatical structure emphasizing all aspects of the sentence equality
|
|
Parody
|
Mimicking someone else's work or style in a humorous or satirical way
|
|
Pastoral
|
From the Latin pastor, "shepherd," is literally the poetry or songs of the shepherds. Part of the pastoral ideal is otium-leisure- of or relating to the countryside
|
|
Personification
|
Attributing human qualities to an inanimate object
|
|
Polysyndeton
|
The use of many conjunctions has the effect of slowing the pace or emphasizing the numerous words or clauses
|
|
Pun
|
A humorous play on words
|
|
Repetition
|
Using the same word or phrase over and over; takes forms such as
|
|
Anaphora
|
Repetition of the same word or group of words at the beginning of successive clauses
|
|
Epanalepsis
|
Repetition at the end of a clause a word that occurred at the beginning
|
|
Epistrophe
|
Repetition of the same word or group of words at the ends of successive clauses
|
|
Rhetoric
|
The art or study of speaking and writing effectively
|
|
Rhetorical Situation
|
The triangle created by the speaker/writer, the audience, and the occasion; affects what is said or written
|
|
Rhetorical Question
|
Questions that do not require an answer; may be directed to the reader, meant to involve the reader...addressed to the writer, meant to review ideas raised...criticizing...asking and answering, meant to highlight the author's method of development of ideas...
|
|
Sarcasm
|
A type of irony in which a person appears to praise something but actually insults it; its purpose is to injure or hurt
|
|
Satire
|
A composition ridiculing human vice or folly; a keen or severe exposure of what in public or private morals deserves rebuke
|
|
Shift (in person, syntax, tone etc.)
|
When a section of the text undergoes a noticeable or subtle change
|
|
Simile
|
An explicit comparison between two unlike things signified by the use of 'like' or 'as.'
|
|
Stream of consciousness
|
Technique that records the thoughts and feelings of a character without regard to logical argument or narrative sequence; reflects all the forces, internal and external, affecting the character's psyche at the moment
|
|
Style
|
The phrase "the author's style" is often seen in AP prompts and is asking the student to discuss how the author uses words, phrases, and sentences to form ideas. In other words, analyze the rhetorical techniques
|
|
Symbol
|
A person, place, thing, or event used to represent something
|
|
Synecdoche
|
The rhetorical substitution of a part for the whole
|
|
Thesis
|
A statement of purpose, intent, or main idea in a literary work
|
|
Understatement (also litotes)
|
Deliberate understatement, especially when expressing a thought by denying its opposite
|
|
Voice
|
The voice is the writer coming through the words, the sense that a real person is speaking to us and cares about the message. It is the heart and soul of the writing, the magic, the wit, the feeling, the life and breath
|