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| Language that signifies a concept, quality, or abstract idea |
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| A work in which the characters and events are to be understood as representing other things and symbolically expressing a deeper, often spiritual, moral, or political meaning |
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| Initial sounds of a word, beginning either with a consonant or vowel, are repeated in close succession |
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| A brief reference, explicit or indirect, to a person, place or event, or to another literary work or passage |
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| Doubtfulness or uncertainty as regards interpretation |
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| The rhetorical repetition of the last word or words of one phrase or sentence at the beginning of the next |
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| In rhetoric, reasoning or explaining from parallel cases |
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| The use of the same word or phrase at the beginning of severasl successive clauses, sentences, lines, or verses, usually for emphasis or rhetorical effect |
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| A short personal account of an incident or event |
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| Explanatory notes added to a text to explain, cite sources, or give biographical data |
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| repetition of words in successive clauses, but in transposed grammatical order |
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| The rhetorical contrast of ideas by means of parallel arrangements of words, clauses, or sentences |
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| Aristotle believed that from the world around them, speakers could observe how communication happenes and use that understanding to develop sound and convincing arguments. In order to do that, speakers needed to look at three elements, graphically represented by what we no call the rhetorical triangle |
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| Teh repetition of identical or simiilar vowel sounds in neighboring words |
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| Commas uses (with no conjunction) to separate a series of words, resulting in the following pattern: x,y,z |
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| The reason why a particular work is written |
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| A setting of clauses phrases, ideas, etc. in parallel constructions |
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| The inappropriate use of one word for another, or an extreme, strained, or mixed metphor, often used deliberately |
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| The order of the words in the second of two paired phrases is the reverse of the order in the first |
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| Language that describes specific, observable things, people, or places, rather than ideas or qualities |
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| Implied additional meaning: an additional sense or senses associated with or suggested by a word or phrase |
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| Repetition of the same consonant two or more times in short succession |
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| Begins wit ha subject and a predicate and then adds a series of phrases or clauses that amplify or explain the idea in the independent clause. |
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| A conclusion drawn from available information |
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| The explicit or direct meaning or set of meanings of a word or expression |
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| Choice and use of words in speech or writing |
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| A term used to describe fiction or non-fiction that teaches a specific lesson or moral |
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| The audience knows more than the characters in the play, so that words and action have additional meaning for the audience |
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| Sentence structure which leaves out something in the second half |
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| A quotation at the beginning of a book, chapter, or section of a book, usually related to its theme |
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| The use of vague or ambiguous and sometimes misleading language |
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| Something that is representative by virtue of having typical features of the thing it represents |
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| To make clear or explicit (something obscure or implied); explain fully |
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| Uses figures of speech to describe or discuss a concept, as opposed to literal language, which has a concrete meaning |
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| An expression or use of language in a non-literal sense in order to achieve a particular effect |
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| A sentence consisting of three or more very short independent clauses joined by conjunctions |
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| A sermon, especially one intended to edify a congregation on a practical matter and not intended to be a theological discourse |
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| Author tires to gt the reader to react or believe in a certain way |
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| Exaggeration, often extravagant; it may be used for serious or for comic effect |
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| A speech form or an expression of a given language that is peculiar to itself grammatically or cannot be understood from the individual meanings |
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| Use of descriptive and figurative language to create a picture in the reader's mind's eye |
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| Constructs or evaluates general propositions that are derived from specific examples |
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| Act or process of deriving logical conclusions from premises known or assumed to be true; The act of reasoning from factual knowledge or evidence |
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| Syntactic reversal of teh normal order of teh words and phrases in a sentence |
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| The discrepancy between what is said and what is meant, what is said and what is done, what is expected or intended and what happens, what is meant or said and what others understand |
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| Placing of verbal elements side-by-side, leaving it up to the reader to establish connections and impose a meaning |
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| figure of speech in which understatement is employed for rhetorical effect, principally via double negatives |
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| A comparison of two dissimilar things which does NOT use "like" or "as" |
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| A figure of speech in which an attribute of something is used to stand for the thing itself |
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| The atmosphere that pervades a literary word with the intention of evoking a certain emotion or feeling from the audience |
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| A message conveyed or a lesson to be learned from a story or event |
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| Sentence that begins by stating what is not true, then ending by stating what is true |
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| Looking at something without bias |
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| A word whose sounds seem to duplicate the sounds they describe |
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| A statement with two parts which seem contradictory |
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| A statement whose two parts seem contradictory yet make sense with more thought |
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| Sentence construction which places in close proximity two or more equal grammatical constructions. |
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| An exaggerated imitation of a usually more serious work for humorous purposes. The writer of a ______ uses the quirks of style of the imitated piece in extreme or ridiculous ways |
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| Places the main idea or central complete thought at the end of the sentence, after all introductory elements. |
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| A writer often adopts a fictional voice to tell a story. _____ or voice is usually determined by a combination of subject matter and audience |
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| treating abstractions or inanimate objects as human, that is, giving them human attributes, powers, or feelings |
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| The perspective from which the story is told, position, attitude |
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| Sentence which uses and or another conjunction, with no commas, to separate the items in a series, usually appearing in the form "X and Y and Z," stressing equally each member of the series. It makes the sentence slower and the items more emphatic than in the asyndeton. |
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| The art of effective communication, especially persuasive discourse. Rhetoric focuses on the interrelationship of invention, arrangement, and style in order to create felicitous and appropriate discourse. |
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| Describe the variety, conventions, and purposes of the major kinds of writing. Four of the most common rhetorical modes and their purpose are exposition, argumentation, description, and narration |
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| A question asked for rhetorical effect to emphasize a point; no answer is expected |
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| Kind of irony; it is praise which is really an insult; sarcasm generally involves malice, the desire to put someone down |
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| Exposure of the vices or follies of an individual, a group, an institution, an idea, a society, etc., usually with a view to correcting it |
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| A comparison of two dissimilar things using "like" or "as" |
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| Expectations aroused by a situation are reversed |
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| Manner of expression; how a speaker or writer says what he says |
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| A thing, event, or person that represents or stands for some idea or event. Symbols also simultaneously retain their own literal meanings. A figure of speech in which a concrete object is used to stand for an abstract idea |
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| The writer's ability to create a variety of sentence structures (appropriately and/or simple and varied in length) |
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| Sentence structures that are extraordinarily involved and complex, often making it difficult f or a reader to follow - lawyers and lawmakers are known for this type of writing, in particular |
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| Sentence structures utilized by the writer (including the length of sentences and the use of clauses in the sentences); often punctuation is an indicator of syntax |
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| the writer's attitude toward the material and/or readers |
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| Series of three parallel words, phrases, or clauses |
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| A work of fiction or nonfiction is said to be unified if all the parts are related to one central idea or organizing principle. Thus, unity is dependent upon coherence |
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| When the reader is aware of a discrepancy between the real meaning of a situation and the literal meaning of the writer's words |
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| A writer's use of language that allows a reader to "hear" a human personality in his or her writing. The elements of style that determine a writer's voice mainly include sentence structure, diction, and tone. Good writers strive for voice in their writing, leaving a distinct, and hopefully accurate, impression upon the reader about the writer |
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| The writer uses one word to govern several successive words of clauses |
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