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| The figure of coyness ("Oh, you shouldn't have."). |
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| The character attack. Logicians and the argument-averse consider it a bad thing. |
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| The figure of hidden meaning ("Im sure you want to do this in the worst way.") |
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| If something is true, something less likely is bound to be true(i.e.: if you accomplish something, it is likely that you can accomplish someting more difficult). |
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| figure that builds one thought on top of another by taking the last word of a clause and using it to begin the next sentence |
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| figure that repeats the first word in a succeding phrases or clauses. It works best in an emotional address before a crowd. |
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| a logical fallacy-it attributes human traits to a non-human creature or object |
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| The fallacy of circular argument |
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| The crisscross figure. "Ask not what your country can do for you,ask what you can do for your country." |
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| Talks around an issue to avoid getting to the point. |
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| You seem to agree with your opponents point, only to use it then to your advantage. |
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| Converse accident fallacy |
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| A logical foul tht uses a bad example to make a generalization |
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| Deals with argument about choices. Often about what is best for the future/family/children, etc. |
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| Persuasion dealing with values that bring a group together. Often used in a right vs.wrong situation. |
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| The dialogue figure. You quote a conversation as an example. |
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| The "This-not-that" figure. I.e.:"Don't buy the shoes, buy the colors" figure. |
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| Freedom from special interest. One of the three traits of ethos. |
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| Feigned doubt about your ability to speak well. |
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| The special effects figure. Makes an audience believe something is happening right before their eyes. |
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| A competitive argument for the sake of argument. In other words, almost any argument that takes place in period 5 APUSH. |
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| Argument that determines guilt or innocence. Focuses on the past. |
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| A figure that asks a rhetorical question, and then immediately answers it. |
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| Inseparable words with a single meaning. |
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| The fallacy of proving the wrong conclusion. |
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| The technique of planting negative ideas in an audience's head. |
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| The rhetorical art of seizing the occasion. Covers both the tight timing and the appropriate medium. |
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| The figure of ironic understatement, usu. negative. |
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| The self-editing figure. You stop to correct yourself with a stronger point. |
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| A figure that makes something represent something else. |
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| A figure of thought that skips over an awkward matter. "Traffic was horrible. I got into a little fender-bender, no big deal, but i got you that shit you wanted." |
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| A figure of swap. Makes a part stand for a whole, or vise versa. (I.e.: referring to the queen as "the throne" |
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| The figure of irrelevance, a point that doesn't follow its predecessor. |
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| A rule that rises from examples. "Look at those maples turning colors; we must be getting into fall!" |
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| A figure in which you mention something by saying you're not going to mention it. Makes you sound fair. |
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| The contrary figure. "We had to destroy the village in order to save it." |
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| A figure that attaches a surprise ending to a thought. |
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| Post hoc ergo propter hoc |
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| Since A followed B, A caused B. "The rooster's crowing made the sun come up." |
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| A figure of thought that anticipates an opponent or audience's objection. |
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| The figure of personification. |
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| The fallacy of distraction. |
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| The fallacy of dire consequences. Says that one choice will lead to a cascading series of bad choices. |
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| The figure of ignorance; a generic form for illogic, or bad grammar or syntax. |
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