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| facts, statistics, and examples that a speaker or writer offers in support of a claim, generalization, or conclusion |
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| a critical approach that debunks single definitions of meaning based on the instability of language; re-examines literary conventions as "not a dismantling of the structure or a text, but a demonstration that it has already dismantled itself" |
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| deduction/deductive reasoning |
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| process of reasoning in which a conclusion is determined from a set of given evidence; begins with a general principle and concludes with a specific instance that demonstrates the general principle |
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| a statement of the meaning of a word, as one of the types of exposition |
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| a sentence that withholds its main idea until the end |
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| the dictionary definition of a word; the direct and specific meaning |
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| a sentence that cannot stand on its own |
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| description/descriptive writing |
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| writing that relies on sensory images to characterize a person or place; one of the four basic types of post that tells how a person, place, or thing is percieved by the 5 senses(objective vs. subjective description) |
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| use of artificial device or contrived solution to solve a difficult situation, usually introduced suddenly and unexpectedly, as in Greek theater |
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| the describable patterns of language, like grammar and vocabulary, used by a particular cultural or ethnic population; the recreation of a regional spoken language |
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| a conversation between two or more speakers that revels important aspects of characters' personalities and events in the narrative; an exchange of ideas |
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| the level of formality exhibited by the specific words chosen; specific word choice for effect, correctness, and clarity, which creates tone, attitude, style, and meaning, viewed on scales of formality/informality, concreteness/abstraction, Latinate derivation/Anglo-Saxon derivation, and denotative value/connotative values |
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| intended to teach a moral lesson or provide a model of correct behavior or thinking, usually formal and focuses on moral or ethnic concerns |
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| movement away from the main story or theme of a piece or writing; an author digresses by temporarily focusing attention on a subplot or a minor character; to turn or move away from the main subject of discussion or the main argument |
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| a formal discussion of a subject; the wider social and intellectual context in which communication takes place, implying that meaning depends on context, not just content |
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| breaking down a single unit into smaller subunits or breaking down a large group of items in discrete categories; classification |
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| a fallacy or argument in which a claim is supported on the grounds that it is the only conclusion acceptable within a given community |
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| the single mood, atmosphere, or quality a writer emphasizes in a piece of descriptive writing, created through careful selection of details and influenced by subject, audience, and purpose |
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| writing for developing ideas and moving toward an end; the raw material for what will become the final product; a version of a piece of writing at a particular stage in writing process(rough draft vs. revised draft vs. final draft) |
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| a type of poem in which the speaker is delivering a monologue to an assumed group of listeners, popular primarily in the 19th century |
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| an imaginary place where people live dehumanized, often fearful lives; opposite of utopia |
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| the final observation, before delivery, by a writer or a speaker of a composition to evaluate appropriateness and to locate missteps in the work; when the writer makes his prose to conform to the conventions of language, including making final improvement in sentence structure and diction, and proofreading for wordiness and errors in grammar, usage, spelling, and punctuation |
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| poem or prose lamenting the death of a particular person |
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| a work of music, literature, dance, or art that expresses sorrow and mourns the loss of something, like the death of a loved one |
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| reading to garner information from a text |
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| a fallacy or argument in which a complicated issue is represented as offering only two possible courses of action, one of which is made to seem vastly preferable to the another; generally misrepresent complicated arguments by oversimplifying them |
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| sentence structure which leaves something out in the second half; usually there is a subject-verb-object combination in the first half of the sentence, and the second half of the sentence will repeat the structure but omit the verb and use a comma to indicate the ellipted material, like "Jessic had 5 dollars; Monica, three." |
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| the force of intensity of expression brought to bear on a particular part of a text or speech |
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| when a writer appeals to readers' emotions, often through pathos, to excite and involve them in the argument |
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| logical reasoning with one premise left unstated; an informal method of argument in which one of the major premises is implied or assumed rather than statement, like "We can't trust this article because it's actually an advertisement" assuming that advertisement cannot be trusted |
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| a quote or aphorism set at the beginning of a literary work or at its divisions to set the tone, suggest a theme, or provide some ideas about content or meaning to follow |
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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 occurence or experience; a sudden, powerful, and often spiritual or life changing realization that a character reaches in an otherwise ordinary or everyday moment |
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| a piece of literature contained in, carried on, or narrated by letters |
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| the repetition of a word/words as the end of two or more successive verses, clauses, or sentences, like "They saw no evil, they spoke no evil, and they heard no evil." |
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| a word or phrase adding a characteristic to a person's name, like "Richard the Lion-Hearted" |
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| when a writer uses the same term in two different senses in an argument |
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| a relatively short piece of nonfiction in which the writer attempts to make one or more closely related points; a good essay is purposeful, informative, and well-organized |
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| when a writer tries to persuade the audience to respect and believe him based on a presentation of image through text; reputation is sometimes a factor |
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| a form of field research involving close and extended observation of a group, event, or phenomenon, careful and detailed note-taking during the observation, analysis of the notes, and interpretation of that analysis |
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| the moral element that determines a character's actions, rather than thought or emotion; the overall character, moral makeup, or guiding beliefs of an individual, group or institution; the appeal of a text to the credibility and character of the speaker, writer, or narrator; the characteristic spirit or ideal that informs a work, or the ethics of the arguer |
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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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| the substitution of a milder or less direct expression for one that is harsh or blunt; an indirect expression of unpleasant information in such a way as to lessen its impact; a more acceptable and usually more pleasant way of saying something that might be inapporpriate or uncomfortable |
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| a pleasing arrangment of sounds; the pleasant, mellifluous presentation of sounds in a literary work |
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| an assessment of the effectiveness or merit of a piece of writing; asks questions about worthiness and achievement of purpose, evidence, strengths and weaknesses, and logical thinking |
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| an indication or a sign; the facts, statistics, anecdotes, and examples that a speaker or writer offers in support of a claim, generalization, or conclusion; the data on which a judgement or argument is based or by which proof or probability is established, usually statistics, facts, names, examples, illustrations, or opinions of authorities |
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| an anecdote or a narrative offered in support of a generalization, claim, or point; illustrates a larger idea or represents something of which it is part; a basic means of developing or clarifying an idea that enables writers to show and not simply tell |
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| a type of interruption where the speaker or writer stops a sentence midway and addresses an individual who may or may not be present |
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| a type of exposition by which the writer uses examples, like specific facts, opinions, samples, and anecdotes, to support a generalization and to make it more vivid, understandable, and persuasive |
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| a single word or phrase intended to emphasize surrounding words, often set off by commons, like "in fact, of course, after all, certainly"; a syllable, word, or group of words added to fill a void perhaps to make a metrical scheme work, but does not add meaning; an exclamatory word or group of words, especially an obscenity |
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| the interpretation or analysis of a text; the act of interpreting or discovering the meaning of a text, usually involving close reading and special attention to to figurative language; one of the four basic types of prose to clarify, explain, and inform, including process analysis, definition, division and classification, comparison and contrast, exemplification, and cause and effect analysis |
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| an explanation of the meaning or purpose of a piece of writing, especially one that is difficult to understand; background information to enhance understanding of context |
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| writing that makes a statement by explaining or giving information |
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| the introduction of a speech in ancient Roman oratory; the "web" meant to draw the audience into the speech |
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| an extended passage arguing that if two things are similar in one or two ways, they are probably similar in other ways as well |
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| an example that is carried through several sentences or paragraphs |
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| a narrative in which fictional characters, often animals, take actions that have ethical or moral significance |
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| a piece of information presented as having a verifiable certainty or reality |
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| an argument that is not valid |
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| a fallacy or argument in which comparison between two objects or concepts is accurate or inconsequential |
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| a fallacy of argument making the unwarranted assumption that because one event follows another, the first event causes the second; post hoc or egro propter hoc |
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| a fallacy of argument in which a comparison between two objects or concepts is inaccurate or inconsequential; when two cases are not sufficiently parallel to lead readers to accept a claim of connection between them |
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| an analogy that compares a fact with a similar point that is still an assumption |
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| brief, imaginative comparisons that highlight the similarities between things that are basically dissimilar to make writing vivid, interesting, and more memorable (simile, metaphor, personification) |
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| writing that has been imagined or invented, which can be based on actual occurences; to invent, to form , to imagine |
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| language that uses stylistic devices such as figures of speech to include non-literal meanings, like metaphors and similes; language dominated by use of schemes and tropes; words that are inaccurate literally, but describe by calling to mind sensations or responses that the thing described evokes; the umbrella term for all uses of language that imply an imaginative comparison |
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| schemes, or variations from typical word or sentence formation, and tropes, or variations from typical patterns of thought |
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| first person narration/point of view |
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| a literary style in which the narrator tells the story from his own point of view and refers to himself as "I"; the narrator may be an active participant in the story or just an observer |
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| retrospection, where an earlier event is inserted into the normal chronology of a narrative; a part of the plot that moves back in time and then returns to the present; when writer refers back to past thoughts, events, or episodes |
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a part of the plot that jumps ahead in time and returns to the present |
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| a figure readily identifiable by memorable traits but not fully developed |
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| a person or thing that makes another seem better or illuminates the qualities of another character by contrast |
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| the limitation that a writer gives his subject, based on constraint of time, space, and purpose |
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| hinting at or presenting things to come in a story or play; a purposeful hint to suggest what may occur later in the narrative |
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| the shape or structure of a literary work |
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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; formal follows established rules or conventions or writing, while informal refers to language appropriate for everyday, casual, or familiar, conversation or writing |
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| a group of words that do not make a grammatical sentence |
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| a sentence consisting of three or more very short independent clauses joing by conjunctions |
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| a part of a text classified according to its function, like introduction, example, or counterargument |
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| a point that a speaker or writer generates on the basis of considering a number of particular examples; when a writer bases a claim upon an isolated example or asserts that a claim is certain rather than probable |
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| term used to describe literary forms, like tragedy, comedy, novel, or essay, or one of the categories within those types, like romance, science fiction, mystery, and melodrama |
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| a set of rules that specify how a given language is used effectively |
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| Aristotle's term for the main character's tragic flaw or error in judgement that causes his downfall |
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| a systematic strategy or method for solving problems |
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| an overstatement characterized by exaggerated language; conscious exaggeration to heighten effect, often humorous and ironic |
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| a way of speaking that is particular to a region, group, or class, or the conventional forms peculiar to a language; an expression that is odd or incorrect and yet accepted, or has meaning that does not clearly derive from the words that combine to form it; a word or phrase that is used habitually with a particular meaning in a language whose meaning is not always readily apparent to nonnative speakers |
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see "example"(an anecdote or a narrative offered in support of a generalization, claim, or point; illustrates a larger idea or represents something of which it is part; a basic means of developing or clarifying an idea that enables writers to show and not simply tell) |
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| a passage of text that evokes sensation or emotional intensity; word/words, either figurative or literal, used to describe a sensory experience or an object percieved by the senses, as always a concrete representation; a verbal approximation of a sensory impression, concept, or emotion |
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| the use of figurative language to evoke a feeling, call to mind an idea, or describe an idea; involves any or all of the five senses; language that evokes particular sensations or emotionally rich experiences in a readers; a mental picture that is conjured by specific words and associations, with auditory and sensory components |
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| a sentence or words that relays a command |
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| a metaphor imbedded in a sentence rather than expressed directly as a sentence, like "His voiced cascaded through the hallways" |
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| refers to opening a story in the middle of the acion, requitting filling in past details by exposition or flashback; "in the middle of things" |
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| refers to unspecified persons or things, like "everyone, someone, or anything" |
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can stand on its own as a sentence |
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| induction/inductive reasoning |
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| reasoning that begins by citing a number of specific instances or examples and then shows how collectively they constitute a general principal; the process of reasoning to a conclusion about all members of a class through an examination of only a few members of the class |
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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; a generalization |
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| the process of arriving at a conclusion from a hint, implication, or suggestion; a conclusion that a reader or listener reaches by means of his or her own thinking rather than by being told directly by a test |
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| the goal a writer or speaker hopes to achieve within the text, like to clarify difficult material, inform, convince, or persuade; aim or purpose |
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| the use of angry and insulting language in satirical writing; a verbally abusive attack |
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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 (dramatic irony); frequently humorous, and can be sarcastic when using words to imply the opposite of what they normally mean (verbal irony); a technique of detachment that draws awareness to the discrepancy between words and their meanings, between expectation and fulfillment, or between what is and what seems to be. |
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| parallel structure in which the parallel elements are similar not only in grammatical structure, but also in length |
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| the specialized vocabulary of a particular group, trade, or profession |
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| a text in which writers produce informal compositions that help them "think on paper" about topics and writing projects |
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| the process of writing in a journal |
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placing of two terms side by side to create a certain effect, reveal an attitude, or accomplish some other purpose; when two contrasting ideas, words, or sentence elements are placed next to each other for comparison |
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