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| to sidestep or evade the real problem |
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| a novel or story whose theme is the moral or psychological growth of the main character |
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| the works of an author that have been accepted as authentic |
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| "sieze the day" - the philosphy that one should enjoy life to the fullest |
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| purification or cleansing of the spirit through the emotions of pity and terror as a witness to tragedy |
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| fiugre of speech by which the order of the terms in the first of parallel clasuses is reversed in the second |
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| an assertion of something as fact, to demand as a right or as due |
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| bringing to an end or conclusion |
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| ordinary language; the vernacular. for example, depending on where in the US you live, a sandwich is called a sub, grinder, or hero. |
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| what is implied by a word. for example, the words "sweet", "gay" and "awesome" have connotations that are quite different than their actual definitions. |
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| the repetition of two or more consonants with a change in the intervening vowels, such as pitter-patter, splish-splash, and click-clack |
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| a direct opposition between things compared; inconsistancy |
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| an accepted manner, model, or tradition |
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| the reasoning process by which a conclustion is drawn from a set of premises and contains no more facts than these premises. |
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| a sentence that withholds its main idea until the end. for example: just as he bent to tie his shoe, a car hit him. |
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| the dictionary definition of a word; the direct and specific meaning. |
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| as in Greek theater, use of an artificial device or contrived solution to solve a difficult situaion, usually introduced suddenly and unexpectedly. |
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| a particular word pattern or combination of words used in a literary work to evoke a desired effect or arous a desired reaction in the reader. |
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| an author's choice of words to convey a tone or effect |
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| intended for teaching or to teach a moral lesson. |
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| movement away from the main story or theme of a piece of writing. an author digresses by temporarily focusing attention on subplot or minor character. |
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| a formal discussion of a subject. |
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| ghostly counterpart of a living person or an alter ego |
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| an imaginary place where people live dehumanized, often fearful lives. the opposite of utopia. |
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| poem or prose lamenting the death of a particular person. perhaps the most famous elegy is Thomas Grey's poem, "Elegy Written in a Country Churchyard" |
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| Quote set at the beginning of a literary work or at its division to se the tone or suggest a theme |
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| A sudden or intuitive insight or perception into the reality or essential meaning of something usually brought on by a simple or common occurrence or experience. |
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| the reptetition of a word or words as the end of two or more successive verses, clauses, or sentences. |
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| a piece of literature contained in or carried on by letters. |
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| a piece of writing in praise of a deceased person |
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| in dramatic literature, the moral element that determines a character's actions, rather than thought or emotion |
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| substitution of a milder or less direct expression for one that is harsh or blunt |
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| a single word or short phrase intended to emphasize surrounding words. commonly expletives are set off by commas: in fact, of course, after all, certainly |
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| the interpretation or analysis or a text |
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| the explanation or analysis of a subject; presenting the meaning or purpose of an issue |
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| a speech or writing in praise of a person or thing; an oration in honor of a deceased person |
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| retrospection, where an earlier event is inserted into the normal chronolgy of a narrative |
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| a person or thing that makes another seem better by contrast |
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| formal/informal/colloquial |
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| language that is lofty, dignified, or impersonal; informal or colloquial language is similar to everyday speech. |
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| to hint at or present things to come in a story or play |
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| term used to describe literary fomrs, such as tradgedy, comedy, novel or essay |
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| Aristotle's term for the main character's tragic flaw or error in judgement |
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| an overstatement charaterized by exaggerated language |
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| sensory details in a work, the use of figurative language to evoke a feeling, call to mind an idea, or describe an object. imagery involves any or all of the five senses. |
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| conclusion or type of reasoning whereby observation or information about a part of a class is applied to the class as a whole. contrast with deductive. |
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| the process of arriving at a conclusion from a hint, implication, or suggestion |
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| the use of angry and insulting language in satirical writing |
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| refers to opening a story in the middle of the action, requiring filling in past details by exposition or flashback |
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| irony: verbal, dramatic, and situational |
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| a situation or statement characterized by significant difference between what is expected or understood and what actually happens or is meant. irony is frequently humorous, and can be sarcastic when using words to imply the opposite of what they normally mean. |
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| parallel structure in which the parallel elements are similar not only in grammatical structure, but also in length. For example, "en envious heart makes a treacherous ear" |
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| placing of two items side by side to create a certain effect, reveal an attitude, or accomplish some other purpose |
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| the strict meaning of a word or words |
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| form of understatement in which the negative of the contrary is used to achieve emphasis and intensity. For example "she is not a bad cook" |
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| the implicit comparison or identification of one thing with another unlike itself without the use of a verbal signal such as like or as. one thing is pictured as if it were something else, suggesting likeness or analogy between them |
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| a figure of speech that uses the name of one thing to name or designate something else, like 'the white house announced..." |
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| the feeling or ambience resulting from the tone of a piece as well as the writer/narrator's attitude and point of view. the effect is created through descriptions of feelings or objects that establish a particular feeling such as gloom, fear, or hope |
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| recurrent device, formula, or situation that often serves as a signal for the appearance of a character or event. |
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| a form of writing that tells a story |
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| use of techniques such as flashbacks and/or digression in the telling of a story |
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| the "character" who tells the story |
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| desire to return in thought or fact to a former time |
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| a word capturing or approximating the sound of what it describes, like buzz or boom |
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| the first part or beginning of a piece of writing |
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| exaggerated language; see hyperbole |
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| a figure of speech that combines two apparently contradictory elements, as in "jumbo shrimp" |
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| a statement that seems contradictory, but is actually true |
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| a satirical imitation of a work of art for purpose of ridiculing its style or subject |
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| the voice or figure of the author who tells and structures the story and who may or may not share of the values of the actual author |
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| treating an abstraction or nonhuman object as if it were a person by giving it human qualities |
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| a character's point of view of the situation or events in the story |
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| the view the reader gets of the action and characters in the story |
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| information or rumor deliberately spread to help or harm a person, group, or institution |
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| the ordinary form of written language without metrical structure, as distinguished from poetry or verse |
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| the chief character in a work of literature |
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| the literary practice of attempting to describe life and nature without idealization and with attetention to detail |
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| looking back on things past |
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| the language of a work and its style |
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| particular use of word patterns and styles used to clarify, make associations, and focus the writing in a piece of literature. included: expletives, parallelism, metaphor, analogy, assonance |
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| a sharp caustic remark. a form of verbal irony in which apparent praise is actually bitterly or harshly critical. |
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| a literary style used to make fun of or ridicule an idea or human vice or weakness. |
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| the time and place of the action in a story, poem, or play |
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| a direct comparison of one thing to another, usually using the words like or as to draw the connection |
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| the person - not necessarily the author - who is the voice of the poem or story |
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| a form of deduction. an extremely subtle, sophisticated, or deceptive argument |
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| a person, place, thing, event, or pattern in a literary work that designates itself and at the same time figuratively represents something else. the use of one object to suggest another hidden object or idea |
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| a figure of speech in which a part signifies the whole, such as "head of cattle' or 'hands on deck' |
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| the way words are put together to form phrases, clauses, and sentences. it is sentence structure and how it influences the way a reader perceives a piece of writing |
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| the central or dominant idea or concern of a work |
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| focus tatement of an essay; premise statement upon which the point of view of discussion in the essay is based |
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| the attitude a literary work takes toward it subject and theme. reflects narrator's attitude |
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| words and devices that bring unity and coherence to a piece of writing. examples: however, in addition, on the other hand |
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| the use of a word in a figurative sense with a decided change or extension in its literal meaning |
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| deliberate expression of an idea or event as less important than it actually is or was |
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| an imaginary place of idea perfection. the opposite of dystopia |
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| the acknowledged or unacknowledged source of words or the story; the speaker, a 'person' telling the story or poem |
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| quickness of intellect and talent for saying brilliant things that surprise and delight by their unexpectedness |
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| grammatically correct linkage of one subject with two or more verbs or a verb with two or more direct objects. the liking shows a relationship between ideas more clearly. for example: bob exceeded at sports, jim at academics, mark at eating |
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