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english 1/2 > metalanguage- definitions and applications > Flashcards

metalanguage- definitions and applications Flashcards

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Proverbs and Idioms flashcards
1
Q

active and passive voice
provides subjective or objective tone

A

active: direct, clear
passive: indirect, detached

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2
Q

adjectives
Describing words

A

adds detail to make the text more interesting
can imply something positive or negative

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3
Q

alliteration and assonance
Repetition of initial consonants and repetition of vowel sounds

A

adds emphasis, reinforces meaning
draws attention to key words or ideas
can elicit emotive response
memorable

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4
Q

allusion

A

makes a comparison between two situations to illustrate parallels, in the hope that audience will draw conclusions
adds humour

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5
Q

Attack (Pathos + Logos)
Means of criticising an individual or idea

A

Belittles an opponent’s arguments or actions and may lend weight to those of the writer
Disparagement of subject may sway audience’s opinion
Can offend and alienate audience if overdone

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6
Q

anecdotes

A

Positions readers to respond emotionally e.g. with fear or pleasure
Rings true’ so positions readers to take notice and accept information.

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7
Q

bias
overt preference or sympathy for a particular point of view

A

Can strengthen an argument if the bias seems reasonable and within context, and if the author has some authority
Can undermine an argument if disproportionate to the context

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8
Q

cliché
An overused phrase or argument

A

Can sway an audience by appealing to something with which they are familiar
May make an audience feel informed
May alienate more sophisticated audience

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9
Q

colourful language
vulgar or rude; particularly unusual or distinctive expression

A

Can provide humour
May offend some of the intended audience
Establishes an informal register (friendly, one-of-us)

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10
Q

connotative language
loaded language that evokes an idea or feeling, either positive or negative

A

Encourages (either subtly or overtly) audience to accept a particular implication
Seeks to persuade audience to accept a particular viewpoint of a person or event

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11
Q

emotional appeal
attempt to persuade through emotional manipulation

A

Triggers an emotional response in audience
Evokes feelings of guilt, shame, horror, satisfaction, honour, etc

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12
Q

emotive imagery
language that paints a picture to arouse a particular emotional response

A

Targets an audience’s emotional response (horror, excitement, disgust outrage, etc)
Can alienate or offend some audiences
(sensitive people, or those with different political views from the writer)

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13
Q

euphemism
a mild, less direct word or phrase used to replace something offensive or unpleasant

A

Avoids offending or disturbing some readers
Can provide subtlety in an otherwise difficult situation
Can undermine the argument if used inappropriately or overused

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14
Q

evidence
material in support of an argument: statistics, fact, expert opinions, anecdotes

A

Can lend an argument considerable weight, lends credibility
Appeal to authority
Can undermine an argument if used to confuse or flood with too much information.

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15
Q

figurative language
Imagery through the use of visuals, metaphors, similes

A

Paints a vivid and easily understood picture for the audience
Implies comparison to support a position

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16
Q

formal language
Use of more elaborate, precise or sophisticated language

A

Creates a sophisticated, often authoritative style that can lend weight to an argument
Commands respect
Can alienate in a situation when informal language is more appropriate

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17
Q

generalisation
broad statements implied from specific cases

A

Seeks to validate a theory or contention, sometimes dubiously
Can be inferred to be evidence by naïve audience
Can detract from or undermine if examples are unrealistic or illogical

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18
Q

humour
use of puns, irony, satire, sarcasm

A

Often denigrates the subject
Can provide a more engaging and friendly tone
Audience can be swayed by having them enter into the joke.

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19
Q

hyperbole
exaggeration or overstatement used to imply something is more important, worse, better etc.

A

Creates dramatic effects through dramatic imagery
Argues through the employment of shock tactics and appeals to fear
Argument can be less effective if overused or exaggerated

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20
Q

hidden agenda
an undisclosed plan, especially one with an ulterior motive

A

Is dependent on audience believing the cover story
•

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21
Q

inclusive language and exclusive language
the effective use of us and we to include, them and they to exclude.

A

Targets or accuses particular groups
Creates a sense of solidarity
Can encourage a sense of responsibility
Can create an ‘us and them’ mentality.

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22
Q

informal language
colloquial, everyday language, slang.

A

Creates a conversational mood
Engenders support by establishing a rapport with the audience
Appeals to audience’s sense of humour, cultural identity
Can alienate those not part of the group

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23
Q

Irony (Pathos + Logos)
Humour found in contradictory situations, often through the use of sarcasm.

A

Can engender support through the use of humour
Can evoke strong emotional responses
Encourages audience to see flimsy logic in a statement or event

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24
Q

jargon
Words and phrases used by a specific group of people.

A

In correct context, allows professionals to communicate easily by using familiar words and terms
Often used to confuse or impress
Used to confer authority (sometimes underserved) on the speaker or writer
Can alienate those not part of the group

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25
Q

logic
reason: the use of argument to assess a situation and sway an audience

A

Appeal to reason rather than emotion lends credibility to the argument
Offers proof and possible solutions
Author’s viewpoint supported by facts and common sense

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26
Q

omissions
the deliberate or accidental leaving out of information.

A

Seeks to present a particular point of view
Can be either persuasive or offensive

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27
Q

pictorial support
images to accompany written text and illustrate an issue or point.

A

Provides audience with visual text, which may aid understanding
Can provide emotional response in reader
Can provide quick factual reference for reader
Statistical presentations can be misleading

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28
Q

praise
expression of approval or admiration.

A

Evokes positive sentiments that can sway an audience
Helps to paint the subject in a positive light.

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29
Q

pun
play on words: humorous use of synonyms or homonyms

A

Humour used to engage audience
Can be used to create a sense of irony

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30
Q

repetition
reuse of words or phrases

A

Is memorable
Highlights important or main points
Creates a rhythm that can have a hypnotic effect.

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31
Q

rhetorical question
a question that does not require an answer

A

Encourages audience to critically consider the issue and perhaps accept the author’s answer
Can imply that the answer is obvious and that anyone who disagrees is foolish
Can evoke emotional response
•

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32
Q

sarcasm
the use of irony to mock or show contempt, by implying the opposite of what is actually said

A

Can provide humour to make a point
Provides political commentary in an amusing format
Can engender hostility in audience
•

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33
Q

satire
the use of humour or exaggeration to expose or criticise

A

Provides humour to make a point
Provides political commentary in an amusing format
Can engender hostility in audience

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34
Q

sensationalism

A

Appeals to audience’s curiosity, prejudices
Can reinforce stereotypes
Can offend or alienate

“Tyndale house is a serious competitor!”(they didn’t come last for once)

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35
Q

sound effects
sounds added to or enhanced in a text

A

Appeal through association
Create a mood

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36
Q

subtext
an underlying theme or message in a text, with an unstated meaning

A

Can send a covert message to the audience
Can be seen as underhanded or manipulative by those who do not agree
Very persuasive if audience is unaware of the subtext

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37
Q

vested interest
a personal interest in a decision

A

View may be biased
Cannot be considered an objective opinion

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38
Q

vocabulary choice
the deliberate selection of words

A

Seeks to support a point of view
Can paint a subject in either a positive or negative light.

### is a pragmatic, endearing, dedicated, observant man.

now take the first letter of each descriptor

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39
Q

Appeal to authority
Uses the opinion of an expert or authority figure to impress audiences or prove a point

A

Reassures the reader that the writer’s viewpoint is shared by someone with expert knowledge.
Influences readers to respond positively and agree.

“My dad is an engineer and says triangles are his favorite shape”

What is everyone’s favourite shape?

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40
Q

Appeal to common sense
Common sense is practical, everyday knowledge that is accepted as obvious and therefore ‘true’.

A

Pressures the reader to agree by implying that anyone who disagrees lacks practical intelligence and cannot see what is evident.

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41
Q

Appeal to family values
Suggests that traditional family life provides the essential values for a healthy, stable society. Usually takes the nuclear family for granted.

A

Leads the reader to view traditional nuclear family as the most desirable kind of family.
Can position the reader to blame destructive or antisocial behaviour on separated or single parent families.

42
Q

Appeal to fear and insecurity
Suggests that people’s safety, security or freedom is at risk; often exaggerates a situation to present a ‘worst case scenario’.

A

Pressures the reader to feel that solutions are needed urgently so they should agree with the proposals.
Also persuades the reader to believe that the writer has their best interests at heart by wanting to protect them.

43
Q

Appeal to the hip-pocket nerve
Threatens our financial well-being because we fear or believe that we are being overcharge or ‘ripped off’.

A

Incites strong emotions, e.g. anger at being overcharged or because money is being misused.
Positions the reader to reject the views of those who want to raise prices, fees etc.

44
Q

Appeal to tradition and customs
Appeals to a sense of security based on the belief that rituals and traditions are valuable and should be preserved.

A

Encourages readers to resist change and to feel that links with the past need to be retained.
Can position readers to view ‘modern’ lifestyles as inferior and damaging the social fabric.

45
Q

Appeal to loyalty and patriotism
Assumes commitment to our group, a love of our country, that old ways of doing things should be highly valued.

A

Positions the reader to agree with (and possibly take part in) actions that will benefit the nation or the group.
Can arouse feelings of anger or fear that position people to take action to support a cause or a group.

46
Q

Appeal to sense of justice
Plays on our beliefs that we all have the right to be treated fairly and we should strive for just outcomes.

A

Positions the reader to agree that the punishment should fit the crime.
Arouses feelings of anger when somebody is punished too harshly or a criminal ‘gets off’ lightly.

“Guys I lapped monopoly in 3 dice rolls” “Banker, please fine him”

47
Q

Emotive language
Deliberate use of strong words and phrases to arouse the reader’s feelings and so manipulate them to agree.

A

The reader is positioned to react emotionally and agree with the writer’s viewpoint before reason even comes into play.

48
Q

Exaggeration, overstatement, hyperbole
Presents an extreme view of a situation for dramatic impact and to provoke strong emotional responses.
Hyperbole is an extravagant statement not meant to be taken literally.

A

Exaggeration positions the reader to respond emotionally and so be more likely to accept or reject a viewpoint.
Can generate humour to make the reader view the writes viewpoint positively.

49
Q

Graphs and diagrams
Facts and figures presented in a visual form

A

Give a quickly understood picture of the ‘facts’ that support a viewpoint in an article or similar - help to persuade and position the reader to agree.

50
Q

Inclusive language
Uses ‘we’, ‘our’ ‘us’ etc to include the readers in the same group as the writer. Assumes that everyone in the group shares the writer’s viewpoint.

A

The reader is positioned to agree with the writer because it appeals to their desire to belong to a group or pays on their fears of being ‘left out’ pr regarded as an outsider.

If WE eat donuts, and THEY don’t, THEY clearly clearly aren’t coppers!

51
Q

Imagery
Figurative language, that which creates a picture or image in the readers mind

A

The creation of a visual image in the readers mind adds impact to the statement and positions readers to understand more clearly the point the writer is making.

“A glistening pink donut, steam rising from its face from being toasted”

52
Q

Juxtaposition
The placement of two concepts near each other in order for readers to make a comparison.

A

The reader is positioned to take one idea or concept and make an immediate comparison with the following idea or concept.

53
Q

Metaphor and simile
Compare two different things, suggesting a similarity between them. A simile uses ‘as if’ or ‘like’; a metaphor does not.

A

Create a striking and memorable image, often with emotional impact that can influence the reader’s viewpoint.
Because more witty and engaging than dry description, can position the reader to support the writer’s viewpoint.

54
Q

Reason and logic
Used to link ideas and develop an argument supporting the writer’s point of view.
Can take into account the opposing viewpoint in order to show why the writer’s argument is superior.

A

Position the reader to accept the writer’s viewpoint as objectively true because it is not just personal opinion or emotional reaction.
Persuade the reader through a well argued case that can stand up to scrutiny.
Often used with a calm tone and/ or formal style.

Subtracting doesn’t exist; you’re really just adding a negative number

55
Q

Ambiguity

A

When something is left to the reader’s imagination

Bob lifted a rock over his head

to what? show his strength? is he going to drop it on himself? or smash into Lily’s foot?

56
Q

Analogy

A

Uses two similar concepts or ideas to create a relationship or draw comparisons between the two

That quadraped athelete’s run was not unlike that of a cheetah’s.

57
Q

Antithesis

A

Using two sentences with contradictory or contrasting meanings close to one another

to illuminate differences between them

58
Q

Archetype

A

An immediately recognisable character, concept or object

blue uniformed man holding a pink-glazed donut.

59
Q

Atmosphere

A

The feeling or mood created by a place, situation or text

60
Q

Characterisation

A

The process by which characters are introduced, described and then fully formed through their choices, interactions, etc.

Percy swam, slid, and occasionally belly-flopped, but he couldn’t fly.

(Percy’s a penguin)

61
Q

Contrast

A

Any situation wherein two different or opposing things are presented together

62
Q

Context

A

The time, place and social setting within which a text was created

63
Q

Dramatic Irony

A

Any situation wherein the audience is privy to some sort of information that the characters do not know

Mother kicked her chick of the cliff, who choked on air in surprise.

How else do birds learn how to fly?

64
Q

Exclamation

A

A sentence ending with an exclamation mark or said with a tone of shock/excitement

Penguin’s don’t fly!

65
Q

Frame Narrative

A

A story within a story

66
Q

Foil

A

A character that contrasts the main character

Ever heard of Wario?

67
Q

Foreshadowing

A

The act of hinting at or setting up a situation, event or action

“I’m the final horcrux”

68
Q

Form

A

The construction and structure of a text

Wibbly wobbly (open middle close)

69
Q

Fractured Sentences

A

Incomplete or broken off sentences

“I love snacking on chil-!”

-li oil ramen! what did you think?

70
Q

Icons

A

An object, image or person that symbolises something larger

71
Q

Intertextuality

A

When one text makes reference to another text

72
Q

Language Choices

A

This includes individual word choices based on connotations

73
Q

Linear and Non-Linear

A

This describes the way in which a narrative flows or is told

74
Q

Metonymy

A

Referring to something by something associated with it

75
Q

Modality

A

Strength of a word or phrase (high = strong, low = weak)

76
Q

Mood

A

The emotional atmosphere of a piece of writing

77
Q

Motif

A

A recurring idea, symbol, or object that carries meaning

78
Q

Omission

A

Leaving something out of the text to create suspense or let the reader imagine

They bit down on the round-shaped morsels, hot jam oozing and dripping.

Hot jam donuts ! (who said?)

79
Q

Onomatopoeia

A

Words that sound like what they represent

Explosion->BOOM, cow go->MOO, drums go ->

80
Q

Oxymoron

A

Combining opposite words for effect

dastardly efficient, scarily cool, laughably sad, a great few examples.

81
Q

Parallels

A

Similar situations or characters used for comparison

82
Q

Pathetic fallacy

A

Giving human emotions or characteristics to non-human things

The wind blew. The grass waved. The trees waved. The rocks grew beards.

83
Q

Person/Narrative Perspective

A

The point of view from which a story is told (1st = I, 2nd = you, 3rd = they)

You screamed, they screamed, we all screamed for (I)ce-cream

2nd, 3rd, 1st for those wondering

84
Q

Personification

A

Giving human qualities to non-living things

A brilliant blue-yellow ball that always bounced back no matter what hit

We personified a ball.

85
Q

Setting

A

The location and time period of a story

“The date was June 6, 1944…”

The setting was probably D-day.

86
Q

Sibilance

A

The repetition of ‘s’ sounds for a specific effect

87
Q

Sound devices

A

Techniques that use sound for effect in writing

88
Q

Symbolism

A

When an object represents something more than itself

A pink-glazed donut

Rising morbesity rates in policemen.

89
Q

Syntax

A

Sentence structure (how words are arranged in a sentence)

90
Q

Theme

A

The underlying message or idea explored in a piece of writing

91
Q

prolepsis

A

a figure of speech in which a future act or development is represented as if already accomplished or existing- anticipation

92
Q

dichotomy

A

separates two things into contrasting and contradictory parts.

93
Q

reductio ad absurdum

A

form of argument that attempts to establish a claim by showing that the opposite scenario would lead to absurdity or contradiction.

A couple have a child. The man didn’t give birth, so the woman must’ve.

i.e., the woman must have born the child

94
Q

hypophora
a figure of speech wherein a writer raises a question and then immediately answers it

A

By employing this technique, the speaker gains control over the topic and skillfully guides the audience’s thoughts in a specific direction. It’s as if the speaker is engaging in a thought-provoking dialogue with the audience, seamlessly alternating between asking compelling questions and providing insightful answers.

95
Q

ad hominem attack

A

This fallacy occurs when, instead of addressing someone’s argument or position, you irrelevantly attack the person or some aspect of the person who is making the argument.

“actually, 1+1=2” “only a nerd would know that”

personA makes reasonable argument –> personB goes on tangent and reminds audience that personA is a cop who eats pink-glazed donuts

96
Q

anaphora

A

ses the repetition of short phrases or single words at the beginning of clauses or sentences to enhance rhythm and evoke audience emotional participation in the literary work.

i.e., a fat cop holding a fat donut walking down a fat street

97
Q

tricolon/triadic sentence

A

a rhetorical term for a series of three parallel words, phrases, or clauses.

98
Q

two pronged approach

A

two/three different ways of achieving the same aim

99
Q

auxesis

A

gradual increase in the intensity of meaning with words arranged in ascending order of force or importance.

i.e., he shivered, wimpered, groaned, wept, cried and screamed !

100
Q

lexical choice

A

the task of selecting words to express an input meaning representation.

101
Q

cause and effect

A

a writer demonstrates to the reader how something happens.

i.e., if I hit your toe with a hammer, you’d probably hurt your toe

toe hit hammer -> toe now hurt

english 1/2 (3 decks)

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