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Text conventions Flashcards

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1
Q

(WEBSITE)

a series of labels in the banner used to navigate to various pages of the website

A

navigation menu

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2
Q

(WEBSITE)

the top section of the website that includes the logo, branding, and navigation hierarchy

A

header

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3
Q

(WEBSITE)

a horizontal advertising panel that is often found toward the top of the website

A

banner

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4
Q

(WEBSITE)

found at the bottom of the website and contains sitemap, logo, copyright information, and contact information. This improves the overall usability of the website

A

footer

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5
Q

(WEBSITE)

section off to the side of the website’s primary content area.

A

sidebar

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6
Q

(WEBSITE)

clickable buttons that allow the user to interact with the website and participate. These buttons often require the user to enter personal information and details.

A

call to action buttons

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7
Q

Serifs or sans serif? Size? Weight? This all has an impact on how the reader interacts with the content.

A

font

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8
Q

how do speakers establish credibility and trustworthiness? Pay attention to the moves speakers use to reduce the distance between the speaker and the audience.

A

appeal to ethos (credibility, ethics)

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9
Q

how do speakers evoke emotional responses from their audience? Look for loaded words and phrases that make the audience feel one way or the other.

A

appeal to pathos (emotion, passion)

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10
Q

some texts needs a logical argument. Read the text carefully to understand how evidence and facts are presented in a logical manner to persuade the listener to join the cause or take a certain position on a topic.

A

appeal to logos (logic, evidence)

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11
Q

(SPEECH)

words such as “must”, “might”, “should”, and “have to” may be small in stature, but they are important in meaning! Look for these keywords to understand the degree of certainty and the strength of feeling in the language of the speaker.

A

modality

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12
Q

(SPEECH)

How does the speech begin? Did they deliver an anecdote or a joke? Did the speaker try to shock you with a provocative fact? How do they structure the main argument? What moves do they use at the end of the speech? Consider how speakers organize their arguments for effects on the listener.

A

structural choices

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13
Q

This is the time to consider figurative language and all the components. Think about connotation, denotation, euphemism, hyperbole, tone, and mood. Just like on other text types, isolate words and phrases, deconstruct them, and show how they shape
meaning.

A

language choices

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14
Q

(LETTER)

How is the heading of the letter organized? Does the writer include a formal label such as “Dr.” or “Mrs”, or is the letter more informal? Is the address included, and does it look like a professional letter or a casual correspondence? Lots to unpack.

A

name, date, address

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15
Q

(LETTER)

Yes, this is a fancy word for “greeting” and it can reveal the tone of the writer. Pay attention to words like “Dear”, “To whom it may concern”, etc.

A

salutation

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16
Q

(LETTER)

usually found in the opening paragraph, this
is often a short and clear statement outlining the reason for writing the letter. This purpose should come out very early in the letter.

A

statement of purpose

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17
Q

(LETTER)

Pay attention to the distance between the writer and the recipient. Is the distance between them far or near? Cordial or formal?

A

register

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18
Q

(LETTER)

often found at the end of the letter, this final paragraph often states what the writer would like the reader to do in response to the letter.

A

call to action

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19
Q

(LETTER)

Much like the salutation, the “send off” can reveal much about both writer and recipient. Check for formal versus informal language, casual register versus formal register, and overall level of formality.

A

closing

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20
Q

(LETTER)

Much like the salutation, the “send off” can reveal much about both writer and recipient. Check for formal versus informal language, casual register versus formal register, and overall level of formality.

A

closing

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21
Q

(REVIEW)

Reviews, although informational, may contain literary elements as the reviewer attempts to engage the reader and entertain. Watch out for descriptive language and other narrative elements the writer uses to illustrate a precise time and context in which they used the product.

A

personal stories/ anecdotes

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22
Q

look for words with positive or negative connotations that capture pleasant or unpleasant emotions.

A

emotive language

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23
Q

(REVIEW)

Look for key words and sentences that evaluate the product and comment on quality.

A

evaluative language

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24
Q

(REVIEW)

Many consumers want to know the technical aspects of the product. If it’s a computer, what kind of processor does it have? If it’s a mobile phone, how many cameras does it have and how many pixels?

A

specifications/ features

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25
Q

(REVIEW)

These “technical words’’ or phrases are specific to the industry or field. The writer assumes the reader has some technical knowledge of the subject. Accordingly the writer uses topic-specific terminology other readers unfamiliar with the topic might not understand.

A

jargon

26
Q

(COMIC)

An image that extends to and/or beyond the edge of the page.

A

bleed

27
Q

(COMIC)

A term that describes the way some images draw the eye more than others, creating a definite focus using color and shading in various ways including:

A

graphic weight

28
Q

(COMIC)

The areas between and around objects. Areas that - if we notice them at all - we tend to think of as empty.

A

negative space

29
Q

(COMIC)

Lines and squiggles that emanate (originate) from a cartoon character or object to indicate movement or any of a variety of states of being.

A

emanata

30
Q

(COMIC)

This is a method of drawing attention to text; it often highlights onomatopoeia and reinforces the impact of words such as bang or wow.

A

lettering

31
Q

(BROCHURE)

Organizations like to emphasize mottos, slogans, or other key quotes that help build the ethos of their brand. Also look for attempts to link to key emotions or values.

A

pull quotes or slogans

32
Q

Our good friends Ethos, Pathos, and Logos strike again. Consider how the text is establishing credibility, appealing to emotion, and constructing a logical argument as they persuade the reader.

A

strong rhetoric

33
Q

(BROCHURE)

Brochures aim to persuade by only providing the essential information. Due to the brevity of this text type, ideas must be omitted. This often includes the counter argument! So, be highly critical of content and consider the other side of the issue.

A

simplification

34
Q

(BROCHURE)

This text type wants the reader to take action, and by providing this specific structure, brochures intend to show just how easy it is to improve some aspect of your life or the world around you.

A

problem-solution structure

35
Q

(TRAVEL)

Some travel writing is sponsored or funded by other organizations and businesses. As such, be savvy and ask yourself who paid for the piece and how it affects the overall messaging.

A

promotions and advertising

36
Q

(TRAVEL)

People read travel writing because they have limited time at their destination. Accordingly, the writer will offer tips about itineraries, pricing, and what isn’t not to be missed during the trip.

A

advice

37
Q

(TABLOID)

The headline of a tabloid will very often have a shocking effect and be provocative and engaging.

A

sensational headlines

38
Q

(TABLOID)

Tabloid articles often do not tell the whole story. We want to look at what they are leaving out. This is clearly a way to bias the
reader and influence their thinking.

A

bias of omission

39
Q

(TABLOID)

Tabloids are for everyone and are meant to reach all readers of all educational levels. The language is informal and casual and sometimes uses regional slang.

A

colloquial language

40
Q

(TABLOID)

Labels and names are clearly a way to influence readers. Calling someone a “kid” or a “youth” or a “teenager” or a “rebel” or a “geek” will clearly carry connotations and create bias.

A

biased names and labels

41
Q

(PERSUASIVE)

The way words are put together to form phrases, clauses, and sentences. It is sentence structure and how it influences the way a reader perceives a piece of writing.

A

syntax

42
Q

(PERSUASIVE)

Using many similar words in a short space can give weight to the idea being expressed. (Eg. “This task requires guts, determination, grit and willpower.”)

A

cumulation

43
Q

The repetition of a word or phrase at the beginning of a sentence.

A

anaphora

44
Q

A word or phrase repeated at the end of consecutive lines.

A

epistrophe

45
Q

(PERSUASIVE)

The technique of arranging words, phrases, clauses, or larger structures by placing them side by side and making them similar in form.

“We shall fight on the beaches, we shall fight
on the landing grounds, we shall fight in the fields.”

A

parallelism

46
Q

(PERSUASIVE)

Figure of emphasis in which a single word or short phrase, usually interrupting normal speech, is used to lend emphasis

A

expletive

47
Q

(PERSUASIVE)

An emotionally violent, verbal denunciation or attack using strong, abusive language.

A

invective

48
Q

(PERSUASIVE)

aims to directly address the reader, either personally or as a member of a shared group. This involves using such words as us, we, you, our.

A

inclusive language

49
Q

The process of addressing mass audiences as though they were individuals through inclusive language usage. This is often done through second person in advertisements (“See you after the break!”)

A

synthetic personalisation

50
Q

Words pertaining to a particular group or idea. For example, words relating to water or nature.

A

lexical cluster

51
Q

Use of language in which multiple meanings are possible.

A

ambiguity

52
Q

(PERSUSASIVE)

a figure of speech in which the name of one object is substituted for that of another closely associated with it. The substituted term generally carries a more potent emotional response.

Eg. a news release that claims “the White House declared” rather that “the President declared”

A

metonymy

53
Q

a type of metaphor in which the part stands for the whole, or the whole for a part

Eg. Farmer Joe has two hundred head of cattle [whole cattle], and three hired hands[whole people]. If we had some wheels[whole vehicle], I’d put on my best threads[clothes] and ask for Jane’s hand [hopefully her whole person] in marriage.

A

synecdoche

54
Q

(PERSUASIVE)

Acknowledging the opposition’s main idea.

A

concession

55
Q

(PERSUASIVE)

Telling the facts for one side only.

A

card stacking

56
Q

Figure of reasoning in which one or more questions is/are asked and then answered, often at length, by one and the same speaker; raising and responding to one’s own question(s).

A

hypophora

57
Q

a figure of speech in which two successive phrases or clauses are parallel in syntax, but reverse the order of the analogous words.

Ex. “The land was ours before we were the land’s” - Robert Frost

A

chiasmus

58
Q

the presentation of two contrasting ideas. The ideas are balanced by word, phrase, clause, or paragraphs.

Eg.“To be or not to be…”

A

antithesis

59
Q

refers to the omission of a conjunction such as “and” or “as” from a series of related clauses.

Eg. “I came, I saw, I conquered.”

A

asyndeton

60
Q

A figure of speech in which several conjunctions are used to join connected clauses in places where they are not contextually necessary.

eg. “The dinner was so good; I ate the chicken, and the salad, and the turkey, and the wild rice, and the bread, and the mashed potatoes, and the cranberry sauce.”

A

polysyndeton

61
Q

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

A

tricolon

English (1 decks)

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