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| The repitition of the same sound or letter at the beginning of consecutive words or syllables |
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| An indirect reference, often to another text or an historic event |
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| The repitition of words at the beginning of successive clauses |
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| A short account of an interesting event |
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| Explanatory notes or critical notes added to a text |
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| The noun to which a later pronoun refers |
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| The repitition of words in an inverted order to sharpen a contrast |
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| Parallel structure that juxtaposes contrasting ideas |
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| A short, astute statement of a general truth |
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| The use of words common to an earier time period; antiquated language |
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| A statement put forth and supported by evidence |
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| A diagram that represents a rhetorical situation as the relationship among the speaker, the subject, and the audience |
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| an emphatic statement; declaration. An assertion supported by evidence becomes an argument |
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| a belief or statement taken for granted without proof |
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| leaving out conjunctions between words, phrases, clauses |
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| one's listener or readership; those to whom a speech or piece of writing is addressed |
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| a reliable, respected source--- someone with knowledge |
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| prejudice or predisposition toward one side of a subject or issue |
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| an informal or conversational use of language |
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| shared beliefs, values, or positions |
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| A reluctant acknowledgement or yielding |
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| That which is implied by a word, as opposed to the word's literal meaning |
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| Words, events, or circumstances that help determine meaning |
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| A challenge to a position; an opposing argument |
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| An independent clause followed by subordinate clauses or phrases that supply additional detail |
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| Reasoning from general to specific |
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| The literal meaning of a word; its dictionary definition |
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| A Greek term referring to the character of a person; one of Aristotle's three rhetorical appeals |
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| urging, or strongly encouraging |
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| Exaggeration for the purpose of emphasis |
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| Vivd use of language that evokes a reader's senses (sight, smell, taste, touch, hearing) |
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| Reasoning from specific to general |
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| A sentence in which the verb precedes the subject |
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| a contradiction between what is said and what is meant; incongruity between action and result |
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| Placement of two things side by side for emphasis |
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| A Greek term that means "word;" an appeal to logic; one of Aristotle's three rhetorical appeals |
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| A figure of speech that combines two contradicting terms |
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| a statement that seems contradictory but is actually true |
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| the repitition of similar grammatical or syntactical patterns |
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| a piece that imitates and exaggerates the prominent features of another; used for comedic effect or ridicule |
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| 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 |
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| a sentence that builds toward and ends with the main clause |
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| an argument against an idea, usually regarding philosophy, politics, or religion |
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| the deliberate use of a series of conjunctions |
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Two parts of a syllogism. The concluding sentence of a syllogism takes its predicate from the major premise and its subject from the minor premise - Major Premise: All mammals are warm-blooded
- Minor Premise: All horses are mammals
- Conclusion: All horses are warm-blooded
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| One's intention or objective in a speech or piece of writing |
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| To discredit an argument, particularly a counterargument |
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| the study of effective, persuasive language use; according to Aristotle, use of the "available means of persuasion" |
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| an ironic, sarcastic, or witty composition that claims to argue for something, but actually argues against it |
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| A term used for the author, speaker, or the person whose perspective (real or imagined) is being advanced in a speech or piece of writing |
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| the distinctive quality of speech or writing created by the selection and arrangement of words and figures of speech |
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| a form of deductive reasoning in which the conclusion is supported by a major and minor premise |
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| combining or bringing two or more elements to produce something more complex |
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| the central idea in a work to which all parts of the work refer |
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| the speaker's attitude toward the subject or audience |
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| artful diction; the use of language in a nonliteral way; also called a figure of speech |
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| a construction in which one word (usually a verb) modifies or governs--- often in different, sometimes incongruent ways--- two or more words in a sentence |
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