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| A verb form in which the subject performs the action expressed in the verb |
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| a word formed or based on the initial letters or syllables of other words. |
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| a bound (non-word) morpheme that changes the meaning or function of a root or stem to which it is attached. (Prefixes and suffixes) |
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| (Derived from the greek Allegoria, "speaking otherwise.) A story in verse or prose with a double meaning-- primary surface meaning and secondary under-the-surface meaning. |
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| the repetition of the same consonant sound at the beginning of two or more words immediately succeeding each other or at short intervals. |
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| a reference to a historical person or event or to a literary work or figure. |
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| a comparison between two different things to highlight some similarity |
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| a short narrative usually consisting of a single incident or episode |
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| textual comment in a book (reader's comment in the margin, or printed explanatory notes provided by an editor.) |
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| a character or force who directly opposes the main character in a story or play. |
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| A word, phrase, or clause to which a following pronoun refers. |
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| A word of opposite meaning to another |
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| (Greek for 'marking off by boundaries'); A terse/short statement of a truth or dogma; generalization that may or may not be witty.(ie: "Fish and visitors both stink in three days.") |
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| To strengthen an argument by citing an expert |
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| to make an argument that relies on expressive language and other devices calculated to incite enthusiasm, excitement, anger, or hatred. |
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| Pathos; to make an argument with emotional appeal that targets the audience's altruism and mercy |
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| Logos; to use rational thinking to persuade by means of an argument "suitable to the case in question." |
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| Ethos; to make an argument that is a persuasive appeal to someone's moral and ethical nature |
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| Archetype/Archetypal Character |
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| (Greek: 'original pattern') A basic model from which copies are made; a prototype. |
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| Used in drama; a few words/passage spoken in an undertone/to the audience. Inaudible to other characters on stage. |
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| the act or process or gathering data in order to better understand something |
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| The effect created when words with the same vowel are used in close proximity, but the consonants are different. (Ex: /i/ sound in "Or sinking as the light wind lives or dies.") |
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| The mood and feeling, the intangible quality which appears to sensory perception, evoked by a work of art. |
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| An account of a person's life by him or herself. |
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| A study of the maturation of a youthful character |
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| An account of a person's life |
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| The most common meter of unrhymed poetry with five iambic feet per line. |
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| one of many middle paragraphs in an essay; develops a point that supports the thesis |
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| The melodic patter preceding the end of a sentence; the rhythm of accented units. |
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| the process by which the character is introduced, revealed, and changed in a story. |
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| A character in a story that undergoes very little change |
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| A character in a story that changes meaningfully. (Ie: Sydney Carton) |
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| (Greek: Dance) An essential and integral part of Greek tragic drama. Usually reduced to one person that comments on the action and helps provide mood and atmosphere. (Ie: Shakespeare.) |
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| The part of a story/play at which the crisis is reached and resolution achieved. |
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| Detailed, balanced and rigorous critical examination of a text to discover its meanings and assess its effects. |
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| A colloquial word, phrase or expression is one in everyday speech or writing. Style is plain and relaxed. |
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| An opinion or comment about something; not concrete detail. |
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| a sentence of two or more coordinated independent clauses |
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| the last sentence in a body paragraph; usually commentary; gives a finished feeling to paragraph |
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| Conclusion (concluding paragraph) |
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| Last paragraph in an essay that sums up ideas and reflects on what is discussed. |
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| The specific details that form the basis for your body paragraphs. |
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| The struggle between opposing forces, ideas, or significant characters that forms the basis of the plot or story in a play. |
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| The struggle between a character and an outside force. (Man vs Man, Man vs Nature, Man vs Society.) |
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| The struggle that occurs within the heart and mind of a character. (Man vs himself) |
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| An association or additional meaning that a word, image, or phrase may carry, beyond its literal reference or dictionary definition. |
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| To show how two things are different; include details and examples. |
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| Two successive rhyming lines |
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| The art or science of literary criticism is devoted to the comparison and analysis, to the interpretation and evaluation of works of literature. |
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| To point out both the good and the bad points [in a piece of text.] |
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| A sentence that makes a statement |
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| The dictionary definition of a word |
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| A conversation between two or more characters. May be used to reveal character and character relationships, to show conflicts, to give background information, or to advance the story. |
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| A language or manner of speaking peculiar to an individual or class or region. Using a region's appropriate dialect often contributes to realism and regionalism. |
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| Word choice or vocabulary |
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| (Greek: 'that which teaches') Any work of literature which sets out to instruct. |
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| Audience knows something that the characters don't. (Common in tragedies or comedies.) |
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| Second half of 16th century to early 17th century; Approximately during Elizabeth's reign. Shakespeare is a famous writer from this time. |
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| (Greek: 'leaving out') A rhetorical figure in which one or more words are omitted. (. . .) |
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| A long narrative poem, on a grand scale, about the deeds of warriors and heroes. Encorporate myth, legend, folk tale and history. Often embody history/aspirations of a nation. |
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| Often marked as a human with the normal flaws of all people, but whom perseveres beyond his or her problems. |
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| The concluding section or paragraph of any literary work, sometimes added as summary, but more often as an afterthought. |
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| A word or phrase preceding or following a name which serves to describe the character. (Ie: Riki the Dark) |
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| The history of words; the study of the history of words |
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| A sentence that makes a vehement statement or conveys strong or sudden emotion |
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| One of the four traditinoal forms of composition in speech and writing. Intended to set forth or explain. |
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| Essay of exposition; in this essay the writer sets out to explain their opinion on an issue. |
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| A vague and general term for an imaginative work, usually in prose. Used in general of the novel, short story, novella, and related genres. |
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| Any language which deviates from the literal language so as to furnish novel effects or fresh insights into the subject being discussed. (Ie: Similie, metaphor, personification, hyperbole) |
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| a passage or story written from the point of view of the main character. |
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| A character whose physical or psychological qualities contrast strongly with, and therefore highlight, the corresponding qualities of another character. |
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| The arrangement of important clues in a play or story to prepare the reader for the events which will occur later in a narrative. |
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| Usually a short introductory piece to a book. Similar to a preface or introduction, but generally composed by someone else (versus the author.) |
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| Story that contains either another tale, a story within a story, or a series of stories. Narrator often tells main story in reflective manner about a time in his or her life that is memorable. |
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| Poetry whose lines have no consistent meter |
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| Different kinds of literary works: epic, novel, drama, etc. |
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| The principal male and female characters in a work of literature. The terms carry no connotations of virtuousness or honor. (An evil man or wicked woman might be the central characters.) |
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| (Greek: 'same name') A word having the same sound and spelling as another, but a different origin and meaning. |
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| (Greek: 'same sound') A word which is pronounced the same as another but has a different spelling and meaning. |
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| Overstatement or exaggeration used to emphasize a point; often a tool of irony |
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| Denotes a metrical foot consisting of an unstressed syllable followed by a stressed syllable. |
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| Use of words peculiar to a particular language |
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| concrete details that appeal to the senses in order to arouse emotion in the reader. |
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| A latin term that refers to the narrative tactic of beginning a story midway in the events it depicts before explaining the context and preceding actions. |
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| A reasonable and intelligent conclusion drawn from hints provided by an author |
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| a sentence that asks a question or makes an inquiry |
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| The first paragraph in an essay that must include a thesis statement. |
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| The contrast between what is expected or appears to be and what actually is. |
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| The contrast of saying the opposite of what is actually meant (sarcasm) |
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| Based on the difference between the way events work out and what is expected to happen. |
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| Extends verbal irony to include lengthy passages or work in which an author expresses an attitude opposite to what he feels. |
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| The level of formality in word choice. Least formal is colloquial English (slang) followed by general english, then formal English (speeches, professional jargon.) |
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| the study of a literary work by a critic, student, or scholar and the careful, detailed reading and report thereof. |
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| The analysis and judgement of works of literature. |
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| Flowery language often used in prose that can easily be seen as poetic. Constant figurative language; often found in vivid setting descriptions. |
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| (Greek: 'song drama') In literature, makes use of sensationalism and extravagant emotional experiences. Characters may be excessively virtuous or exceptionally evil. |
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| A figure of speech in which a word or phrase literally denoting one kind of object or idea is used in place of another to suggest a likeness between them. (Ex: He was drowning in money.) |
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| A generally regular pattern of stressed and unstressed syllables in poetry. |
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| (Greek /mneme/, 'memory') A device in verse or prose. Mnemonic devices are those that aid one's memory. (Ie: Columbus sailed the ocean blue in 1492.) |
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| an extended speech by one person directly addressing the audience or another character. |
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| A state of mind or feeling created by a literary work, such as a sentimental or whimsical mood. |
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| A recurring element, such as an image, theme, or type of incident. |
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| the values, desires, or beliefs which cause a character to act as he does. |
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| (Greek /muthos/, 'anything uttered by word of mouth') Homer used it to mean narrative and conversation, but not a fiction. Later, it's now used to mean fiction. In general, it is a story which is not true and which involves supernatural beings. Often also includes the creation of something, how something came to exist, and embodies feeling and concept. |
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| Sometimes used loosely as a synonym for realism, and also in reference to works that show an interest in sympathy with/love of natural beauty. |
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| A kind of short story, a narrative in prose of the genre developed by Boccaccio. More recently, it's a fictional narrative of intermediate length (a few pages to 200-300) restricted to a single event, situation or conflict, which produces an element of suspense and leads to an unexpected turning point. |
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| A group of eight lines (stanza form [ottava rima] or as the first eight lines of a sonnet. Usually aabbaabba.) |
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| Term used to describe words whose pronunciations suggest their meaning (EX: Buzz, gurgle.) |
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