Subtest III Writing and Poetry Flashcards

0
Q

Drafting/Incubation

A

This stage of the process involves the writer looking at the brainstormed ideas and beginning to contemplate/formulate an organization to the paper. The stage is a preliminary stage to consider, reflect, and (hopefully) avoid “dead-ends.”

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1
Q

Prewriting/Invention/Planning

A

These interchanging labels refer it idea- generating activities: Brainstorming. Some practiced techniques used are freewriting, journaling, questioning, mapping, and clustering. The concept in this stage of writing is the considering of ideas without judging or correcting.

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2
Q

Organization/Drafting

A

This stage of the writing process requires one to recognize writing is a multi-draft process and the fact one puts a monumental effort into the first draft does not indicate that all one needs to do is run spellchecker.

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3
Q

Revising, revising, revising

A

Researchers have found that writers who avoid condemning their drafts for their sentence or spelling errors are more likely to make more substantive revisions to subject, form, tone, and audience. The revision stage is where writers need to consider making changes to improve the paper. Often this revision process is enhanced by the stage know as Responding.

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4
Q

Responding/Evaluation

A

Responding may take several forms including individual analysis, collaborative, peer reviews, as well as interim teacher reviews.

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5
Q

Individual analysis

A

In individual analysis, the writer may use assignment criteria to respond to his/her own writing; one measures what one has written against the assignment itself. Another technique individual analysis is to give the writer a form to evaluate for specific sections of the essay that may need revision.

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6
Q

Collaborative evaluation

A

Must go beyond, “I liked the paper.” One technique that can be sued is to give a form to another student to evaluate the paper for specific techniques, such as inclusions of a quote integration, avoiding the passive voice, coherence, tone, all enhance the validity of engaging collaborative groups to evaluate peer papers.

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7
Q

Editing

A

Hopefully writers have done some editing in the process of working through multiple drafts. Yet, in this stage of the writing process, writers need to be directed to focusing on specifics such as paragraphing, coherence, sentence structure and its variety, word choice, and consistency of tone, for example.

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8
Q

Proofreading

A

In this stage the writer is meticulously re-reading the paper to assure that the intent of the paper has been met. Writers must be alerted to the fact that spellchecker does not discriminate between to, too, two, their and there.

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9
Q

Holistic scoring

A

based upon the idea of grading the whole of the paper, an the grade on the paper is determined by using a rubric.

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10
Q

Rubric

A

typically factors in Organization, Content, Style, and Effectiveness of the delivery as well as judging the Academic Conventions used to write the paper.

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11
Q

Clustering

A

Ss jot down ideas as words or very short phrases. Use different colored pens as ideas seem to suggest themselves in groups. Use printing or longhand script to suggest that ideas are main thoughts or supportive ideas. Don’t bother to organize too neatly, though, because that can impede the flow of ideas. Don’t cross anything out because you can’t tell where an idea will lead you. When you get a few ideas written down, you can start to group them, using colored circles or whatever. Draw linking lines as connections suggest themselves.

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12
Q

The Writing Process

A
Prewriting
Drafting
Revising
Editing
Publishing
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13
Q

Prompt

A

should give the background and reason for writing and a specific writing task

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14
Q

Meter

A

what results when the natural rhythmical movements of colloquial speech are heightened, organized and regulated so that [repetition] emerges from the relative phonetic haphazard of ordinary utterance
4 common ways to view meter: Syllabic, Accentual, Accentual-syllabic, Quantitative

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15
Q

Syllabic Meter

A

A general counting of syllables per line

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16
Q

Accentual Meter

A

A counting of accents only per line. Syllables may vary between accents.

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17
Q

Accentual-syllabic Meter

A

A counting of syllables and accents. Syllables may not vary between accents.

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18
Q

Quantitative Meter

A

Measures the duration of words

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19
Q

Scansion

A

A method for writing out the rhythms of a poem. 3 kinds are the graphic, the musical and the acoustic. Graphic is most common.

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20
Q

Scansion symbol: ~

A

An unaccented syllable

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21
Q

Scansion symbol: ‘

A

An accented syllable

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22
Q

Scansion symbol: /

A

A break between poetic feet

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23
Q

Scansion symbol: _

A

A caesura, or metrical pause

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24
Q

Accented syllables in poetry

A

Syllables that are naturally given more emphasis when spoken

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25
Q

Unaccented syllables in poetry

A

Syllables that receive less emphasis when spoken

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26
Q

Poetic foot

A

A unit of accented and unaccented syllables that is repeated or used in sequence with others to form the meter
A repeated sequence of meter comprised of 2 or more accented or unaccented syllables.

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27
Q

Caesura

A

A long pause in the middle of a line of poetry.

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28
Q

Iambic pentameter

A

When a poem has five accents per line and their syllable counts are 10/10/10

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29
Q

Iambic foot

A

A sequence of poetic foot that is Unaccented, Accented. (^’) {ex: destroy}

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30
Q

Anapestic foot

A

intervene: ^^’ (unaccented, unaccented, accented)

31
Q

Trochaic foot

A

topsy: ‘^ (accented, unaccented)

32
Q

Dactylic foot

A

merrily: ‘^^ (accented, unaccented, unaccented)

33
Q

Substitutive feet

A

feet not used as primary, instead used to supplement and vary a primary foot. They are referred to using these terms: Spondaic and Pyrrhic.

34
Q

Spondaic

A

hum drum - In poetry, a spondee is a metrical foot consisting of two long syllables, as determined by syllable weight in classical meters, or two stressed syllables, as determined by stress in modern meters.

35
Q

Pyrrhic

A

the sea / son of / mists - a metrical foot consisting of two short or unaccented syllables

36
Q

One foot in a line of poetry

A

Monometer

37
Q

Two feet in a line of poetry

A

Dimeter

38
Q

Three feet in a line of poetry

A

Trimeter

39
Q

Four feet in a line of poetry

A

Tetrameter

40
Q

Five feet in a line of poetry

A

Pentameter

41
Q

Six feet in a line of poetry

A

Hexameter

42
Q

Seven feet in a line of poetry

A

Heptameter

43
Q

Eight feet in a line of poetry

A

Octameter

44
Q

Rhyme Scheme in poetry

A

The repetition of a rhyme throughout a poem. A rhyme scheme is typically shown wit letters representing the patterns that the rhymes make throughout the poem.

45
Q

Perfect Rhyme

A

Where the two (or three or four) words are in complete aural correspondence. (ex: Certain & Curtain)

46
Q

Forced Rhyme

A

An unnatural rhyme that forces a rhyme where it should not otherwise be.

47
Q

Slant Rhyme

A

The words are similar, but lack perfect correspondence. (ex: found & kind, grime & game.)

48
Q

Masculine Rhyme

A

Has a single stressed syllable rhyme. (ex: fight & tight, stove & trove)

49
Q

Feminine Rhyme

A

A stressed syllable rhyme followed by an unstressed syllable. (ex: carrot & garret, sever & never)

50
Q

Visual Rhyme

A

A rhyme that only looks similar, but when spoken sound different. (ex: slaughter & laughter) This type of rhyme can be used more to make a visual pattern than to make an aural rhyme.

51
Q

Internal Rhyme

A

The rhyme comes in the middle of the line rather than the end. (ex: from “The Raven”
Once upon a midnight dreary, while I pondered, weak and weary . . .

52
Q

Assonance

A

The same or similar vowel sound repeated in the stressed syllable of a word, followed by uncommon consonant sounds. Ex: hate & sale, or drive & higher.

53
Q

Consonance

A

The same or similar consonant sound repeated in the stressed syllable, preceded by uncommon vowel sounds. Ex: urn & shorn, or irk & torque.

54
Q

Alliteration

A

Repetition of sounds through more than one word or syllable. Ex: Take the (extreme use of) the “L” sound that repeats in the following phrase - “The lurid letters of Lucy Lewis are luscious, lucid and libidinous.”

55
Q

Imagery

A

The category of which all images, as varied and lively as they are, fall into. Imagery is best defined as the total sensory suggestion of poetry.

56
Q

Imagination

A

1) The mental laboratory used for the creation of images and new ideas.
2) Imagination is not, as its etymology would suggest, the faculty of forming images of reality; it is rather the faculty of forming images which go beyond reality, which sing reality.

57
Q

Imagism

A

A school of poetry and poetics made popular by Ezra Pound, Amy Lowell and H.D. (Hilda Doolittle) in the early 20th century that focused on “direct treatment of the thing, whether subjective or objective.” H.D.’s “Sea Garden” is often seen as a good example of this style.

58
Q

Concrete detail

A

A detail in a poem that has a basis in something “real” or tangible, not abstract or intellectual, based more in things than in thought.

59
Q

Sensory detail

A

A detail that draws on any of the five senses. This is very often also a concrete detail.

60
Q

Image

A

According to Ezra Pound: “An ‘Image’ is that which presents an intellectual and emotional complex in an instant of time.”

61
Q

Pattern (in poetry)

A

The visual elements of form found in a poem. Prominent places to look at pattern include verbal, grammatical, syntactical, linear, stanzaic and sectional elements within a poem.

62
Q

Authority (pattern)

A

A poem’s commanding presence or ability to accurately relay itself to the reader. Poetic authority is derived from the seamless marriage of formal and Dionysian aspects in a poem.

63
Q

Form

A

The Apollonian elements of poetry, or those aspects that show control. Form includes both the visual and sound elements in a poem.

64
Q

Free Verse

A

The form of most contemporary poetry. Free verse takes as its structure a pattern and sound formation that is unique to a particular poem, thus making it “free” from the traditional verse forms and “versed” in that there is still an attention to formal detail.

65
Q

Structure (of poetry)

A

The resultant sum of all sound and visual form in a poem.

66
Q

Variation (in poetry)

A

A change in the formal aspects of a poem. Regarding pattern, it is a variance within the visual elements of a poem.

67
Q

What are the aspects of a poem that can be varied and patterned?

A

Pattern can arise in the verbal, grammatical, syntactical, linear, stanzaic or sectional elements of a poem.

68
Q

Verbal Pattern

A

A pattern that derives from word choice. Closely related to prosody, verbal patterns arise in the common letter configurations and repetition of certain words. Ex: Poe’s “Anabel Lee”
It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of ANNABEL LEE;–
And this maiden she lived with no other thought
Than to love and be loved by me.

69
Q

Grammatical Patterns

A

G.P. are found in placement of punctuation or repetition of similar grammatical units (ie: 2 lines with similar use of independent clauses). This also includes syntactical function (“function” meaning does the sentence ask a question, make a statement, etc.) Ex: Poe’s “Anabel Lee” (prep. phrase - Of . . .)
For the moon never beams without bringing me dreams
Of the beautiful Annabel Lee;
And the stars never rise but I see the bright eyes
Of the beautiful Annabell Lee;
And so, all the night-tide, I lie down by the side
Of my darling, my darling, my life and my bride,
In her sepulchre there by the sea–
In her tomb by the side of the sea.

70
Q

Syntactical Patterns

A

A S.P arises when 2 or more sentences have similar verbal and grammatical patterns (thus making them seem similar in content and construction), have similar length or repeat identically the same sentence.

71
Q

Linear Patterns

A

Patterns that occur in the line are found primarily in how the line ends. - end-stopped (ends with a hard punctuation, typically a period, comma, dash or semi-colon), end-paused (one that breaks between phrases) or enjambed (break the phrase and often contain internal punctuation).

72
Q

Stanzaic Pattern

A

A regular or repetitive stanza length is the first order of stanzaic pattern. But we also find the placement of linear patterns within the stanza to fall into this category. Ex: if a 4 line stanza has every line (or every other line, etc.) end-stopped.

73
Q

Sectional Pattern

A

In a multi-sectioned poem, the patterns made by all of the other elements throughout the sections can make a consistent pattern. If we wrote a poem with sections and each section consisted of four three-lined stanzas (“tercets”), each with all lines end-stopped, every sentence being declarative, every sentence beginning with a proposition… this would show a tremendous amount of sectional pattern.

74
Q

Uses of Variation in a poem

A

To provide emphasis. Any aspect of any of the major categories of pattern can be varied, thus any aspect of the poem can provide emphasis.