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| A figure of speech that makes reference to a person, place, event, or other source meant to create an effect or enrich the meaning of an idea |
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| A brief, sometimes clever saying that expresses a principle, truth or observation about life |
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| A comparison that points out similarities between two disimilar things. It explains something unfamiliar by comparing it to something familiar. |
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| A brief story used in an essay to illustrate a point |
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| A story or description that has a second meaning, typically portrayed by creating characters, setting, and/or events which represent or symolize abstract ideas; a type of extended metaphor in which characters are personifications of abstract qualities |
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| Uncertainty in meaning of language |
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| Unrythmed lines of iambic pentameter |
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| The concluding passage of a piece or movement |
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| The tension created in the story by the struggle or outcome of a struggle - one of the narrative devices to address when analyzing tone of the passage |
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| The suggested meaning of a word or phrase as opposed to the denotative, or literal meaning. |
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| When the speech of 2 groups both speaking the same language exhibits very remarked differences, the groups or persons are said to be speaking different dialects. |
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| A type of poem in which the speaker gives an account of a dramatic moment in his life and, in doing so, reveals his character. |
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| Repitition of 2 or more vowel sounds |
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| Repitition of 1 or more vowel sounds |
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| Comparison of 1 thing to another using "like" or "as" |
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| Figure of speech that compares unlike objects |
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| Sounds suggest their meaning |
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| Unit of meter that contains an arranged number of syllables |
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| Kind of poetry without rhymed lines or regular rhythm |
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| Overstatement or gross exaggeration for rhetorical effect |
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| Presentation of something as being smaller or worse |
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| Deduce from evidence rather than from statements |
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| Metrical foot that has one unaccented syllable followed by one accented syllable |
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| Sensory language, or the use of words to represent what can be seen, touched, smelled, tasted, or felt. |
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| Form of expression in which the meaning intended is different, sometimes opposite, from what is expected. |
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| Words that have a meaning that is not deducible from those of the individual words |
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| State of mind in which one feeling, emotion or range of sensibility has ascendancy |
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| The pattern of stressed and unstressed syllables established in a line of poetry |
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| Reason one has for behaving in a particular way |
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| Realistic narrative and naturalistic technique are combined with surreal elements of dream or fantasy |
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| The application of principles of scientific determinism to literature; literary movement in the late 19th and 20th centuries. Tend to emphasize either a biological or socioeconomic determinism. |
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| The depiction of people, things, and experiences as it is believed they really are without idealization or exaggeration |
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| Emphasis in fiction on the environment of a specific region - distinguished from local color in that it applies to fiction that emphasizes the effect of the setting on the characters |
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| Belief that actions or opinions should be based on reason and knowledge rather than religious belief or emotional response |
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| Movement in the 18 and 19 centuries that marked the reaction from the neoclassicism and formal orthodoxy of the preceding period. It is marked by the predominance of imagination over reason. |
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| Modern character or quality of thought, expression, or technique |
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| Late 20th century style and concept in the arts, architecture, and criticism that represents a departure from modernism and has at its heart a general distrust of grand theories and ideologies as well as a problematical relationship with any notion of "art" |
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| Form of verse or prose that tells a story or recounts events |
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| act or fact of persuading someone or being persuaded to do or believe something |
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| Repitition of any grammatical structure |
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| 14 line poem organized in 2 segments: the octave and a sestet |
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| Petrarchan (Italian) Sonnet |
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| A statement, although seemingly contradictory or absurd, may have actually be well founded or true. |
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| Illustrative story that teaches a lesson |
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| Vantage point from which the author presents a story |
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| Satirical imitation of a work for the purpose of ridiculing its style or subject |
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| The last 6 lines of a sonnet |
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| Strong, regular, repeated pattern of sound or movement |
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| Repitition of similar sounds at regular intervals, often usd in the writing of verse |
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| Manner of doing something |
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| Looking at all parts of something in order to detect the feature |
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| Metrical foot consisting of 2 stressed syllables |
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| 14 line verse form following one of several set rhyme schemes |
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| 14 line poem composed of three quatrains followed by a rhyming heroic couplet |
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| Elizabethan (Shakespearean) Sonnet |
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| Person, place, or thing that represents something else |
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| Literary style used to make fun of or ridicule an idea or human vice or foible, frequently intent of changing or altering the subject being attacked |
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| The time and location of the story |
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| The arrangments of words into sentences, used by the author to convey tone, purpose, or effect |
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| Reproduce the ubellished flow of thoughts into human mind, with its feeling, judgements, associations, memories, etc. |
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| Central idea, by the writer of the work |
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| Attitude created by the author's manipulation of the language |
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| language spoken by ordinary people in a particular region |
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| Fixed, 19-line form, origionally French, employing only 2 rhymes and repeating two of the lines according to a set pattern |
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