Term
|
Definition
| The repetition of words in successive clauses in reverse grammatical order—for example, “You can take the boy out of the country, but you can’t take the country out of the boy.” |
|
|
Term
|
Definition
| The substitution of one part of speech for another—for example, “The poet says we ‘milestone our lives.’” |
|
|
Term
|
Definition
| A mental exercise to discover possibilities for analysis of communication |
|
|
Term
|
Definition
| A sentence with one independent clause and one or more dependence clauses |
|
|
Term
| compound-complex sentence |
|
Definition
| A sentence with two or more independent clauses and one or more dependent clauses |
|
|
Term
|
Definition
| A sentence with two or more independent clauses |
|
|
Term
|
Definition
| The construction in which two or more nouns, noun phrases, or noun clauses constitute the grammatical subject of a clause |
|
|
Term
|
Definition
| The convergence of time, place, audience, and motivating factors in which a piece of writing or a speech is situated |
|
|
Term
|
Definition
| The invention strategy, developed by Kenneth Burke that invites a speaker or writer to create identities for the act, agent, agency, scene, and purpose in a situation. An adaptation of the pentad also calls for the speaker or writer to identify attitude in the situation. |
|
|
Term
|
Definition
| reading to garner information from a text |
|
|
Term
|
Definition
| a word or phrase adding a characteristic to a person’s name—for example, “Richard the Lion-Hearted” |
|
|
Term
| Figures of Rhetoric – Schemes |
|
Definition
| Variations from typical word or sentence formation |
|
|
Term
| Figures of Rhetoric – Tropes |
|
Definition
| Variations from typical patterns of thought |
|
|
Term
|
Definition
| Language that evokes particular sensations or emotionally rich experiences in a reader |
|
|
Term
|
Definition
| Understatement—for example, “her performance ran the gamut of emotion from A to B.” |
|
|
Term
|
Definition
| A sentence that adds modifying elements after the subject, verb and complement |
|
|
Term
|
Definition
| A narrative in which the reader or viewer has access to the unspoken thoughts of all the characters |
|
|
Term
|
Definition
| act, agent, agency, scene,purpose |
|
|
Term
|
Definition
| In a dramatistic pentad created by a speaker or writer in order to invent material, the words the speaker or writer uses to describe what happened or happens in a particular situation |
|
|
Term
|
Definition
| In a dramatistic pentad created by a speaker or writer in order to invent material, the words the speaker or writer uses to describe the person or persons involved in taking action in a particular situations |
|
|
Term
|
Definition
| in a dramatistic pentad created by a speaker or writer in order to invent material, the words the speaker or writer uses to describe the person or persons involved in taking action in a particular situations |
|
|
Term
|
Definition
| in a dramatistic pentad created by a speaker or writer in order to invent material, the words the speaker or writer uses to describe where and when something happened or happens in a particular situation |
|
|
Term
|
Definition
| – The goal a writer or speaker hopes to achieve with the text – for example, to clarify difficult material, to inform, to convince, and/or to persuade. Also called aim or intention. In a dramatistic pentad, created by a speak or writer in order to invent material, the words the speaker or writer uses to describe the reason something happened or happens in a particular situation |
|
|
Term
|
Definition
| A sentence with modifying elements included before the verb and/or complement |
|
|
Term
|
Definition
| A believable, trustworthy commentator on events and characters in a story |
|
|
Term
|
Definition
| A sentence with one independent clause and no dependent clause |
|
|
Term
|
Definition
| a writer’s or speaker’s apparent attitude toward the audience |
|
|
Term
|
Definition
| a figure who remains the same from the beginning to the end of the narrative |
|
|
Term
|
Definition
| a group of words that includes a subject and verb but that cannot stand on its own as a sentence; also called dependent clause |
|
|
Term
|
Definition
| a part of something used to refer to the whole – for ex. “50 head of cattle” |
|
|
Term
|
Definition
| a group of words that merely repeats the meaning already conveyed |
|
|
Term
|
Definition
| an extended metaphor of consonan sounds at the beginning or in the middle of two or more adjacent words |
|
|
Term
|
Definition
| the repetition of a group of words at the beginning of a successive clauses |
|
|
Term
|
Definition
| repittion of a group of words at the beginning of successive clauses |
|
|
Term
|
Definition
the juxtaposition of contrasting words or ideas, often in parallel structure
-Brutus: Not that I loved Caesar less, but that I loved Rome more. Shakespeare, Julius Caesar |
|
|
Term
|
Definition
| a diagram showing the relations of writer or speaker, audience, and text(subject) in a rhetorical situation. |
|
|
Term
|
Definition
| one of the traditional elements of rhetorical composition- invention, arrangement, style, memory or delivery |
|
|
Term
|
Definition
|
|
Term
|
Definition
| The art of generating material for a text |
|
|
Term
|
Definition
| The choices that writers or speakers make in language for effect |
|
|
Term
|
Definition
| in a spoken or written text, the placement of ideas for effect |
|
|
Term
|
Definition
| access to information and collective knowledge for use in compostion |
|
|
Term
|
Definition
| The presentation and format of a composition |
|
|
Term
|
Definition
| a type of poem, popular primarily in the nineteenth century, in which the speaker is delivering a monologue to an assumed group of listeners |
|
|
Term
|
Definition
| one who changes during the course of the narrative |
|
|
Term
|
Definition
| the appeal of a text to the credibility and character of the speaker, writer or narrator |
|
|
Term
|
Definition
| systematic strategy or method for solving problems |
|
|
Term
|
Definition
| a metaphor embedded in a sentence rather than expressed directly as a sentence. |
|
|
Term
|
Definition
| specialized vocabulary of a particular group |
|
|
Term
|
Definition
| the appeal of a text based on the logical structure of its argument or central ideas |
|
|
Term
|
Definition
| the feeling that a text is intended to produce in the audience |
|
|
Term
|
Definition
| an anecdote or a story offered in support of a generalization, claim, or point. Also, a function in texts accomplished when the speaker or writer tells a story |
|
|
Term
|
Definition
| appeal of a text to the emotions or interests of the audience |
|
|
Term
|
Definition
| the character that a writer or speaker conveys to the audience |
|
|
Term
|
Definition
the goal a writer or speaker hopes to achieve with the text,
-to clarify difficult material, to inform, to convince, and/or to persuade. Also called aim and intention |
|
|
Term
|
Definition
| the speaker who uses elements of rhetoric effectively in oral or written text |
|
|
Term
|
Definition
| the art of analyzing all the choices involving language that a writer, speaker, reader or listener might make in a situation so that the text becomes meaningful, purposeful, and effective, the specific features of texts, written or spoken, that cause them to be meaningful, purposeful, and effective for readers or listeners in a situation |
|
|
Term
|
Definition
| the order of words in a sentence |
|
|
Term
|
Definition
| the writer’s or speaker’s attitude toward the subject matter |
|
|
Term
|
Definition
| the quality of a text that reflects the truth of actual experience |
|
|
