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ap lang glossary > vocab assignment for 8/11 > Flashcards

vocab assignment for 8/11 Flashcards

1
Q

Active Voice

A

D:The subject of the sentence performs the action

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2
Q

Allusion

A

D: An indirect reference to something the reader is supposed to be familiar with

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3
Q

Alter-ego

A

D: A character that is used by the author to speak the author’s own thoughts, when the author speaks directly to the audience through a character

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4
Q

Anecdote

A

D: A brief recounting of a relevant episode

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5
Q

Antecedent

A

D: The word. phrase, or clause referred to by a pronoun

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6
Q

Classicism

A

D: Art or literature characterized by a realistic view of people and the world; sticks to traditional themes and structures

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7
Q

Comic Relief

A

D: When a humorous scene is inserted into a serious story, in order to light the mood somewhat.

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8
Q

Diction

A

D: Word choice, particularly as an element of style. Different types of words have significant effects on meaning

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9
Q

Colloquial

A

D: Ordinary or familiar type of conversation

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10
Q

Connotation

A

D: the associations suggested by a word

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11
Q

Denotation

A

D: The literal, explicit meaning of a word, without its connotations

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12
Q

Jargon

A

D: The diction used by a group which practices a similar profession or activity

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13
Q

Vernacular

A

D: Language or dialect of a particular country; language or dialect of a regional clan or group; plain everyday speech

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14
Q

Didactic

A

D: used to describe fiction, nonfiction or poetry that teaches a specific lesson or moral or provides a model of correct behavior or thinking

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15
Q

Adage

A

D: A folk saying with a lesson

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16
Q

Allegory

A

D: A story, or non fictional, in which characters, things, and events represent qualities or concepts.

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17
Q

Aphorism

A

D: terse statement which expresses a general truth or moral principle

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18
Q

Ellipsis

A

D: Deliberate omission of a word or phrase from prose done for effect by the author

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19
Q

Euphemism

A

D: More agreeable or less offensive substitute for generally unpleasant words or concepts

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20
Q

Figurative Language

A

D: Writing that is NOT meant to be taken literally

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21
Q

Analogy

A

D: Comparison of one pair of variables to a parallel set of variables

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22
Q

Hyperbole

A

D: Exaggeration

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23
Q

Idiom

A

D: Common, often used expression that doesn’t make sense if you take it literally

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24
Q

Metaphor

A

D: Making an implied comparison, not using “like”, “as”, or other such words

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25
Q

Metonymy

A

D: Replacing an actual word or idea, with a related word or concept

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26
Q

Synecdoche

A

D: A kind of metonymy when a whole is represented by naming one of its parts, or vice versa

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27
Q

Simile

A

D: Using words such as “like” or “as” to make direct comparisons between two very different things

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28
Q

Synesthesia

A

D: A description involving a “crossing of the senses”

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29
Q

Personification

A

D: Giving human-like qualities to something that is not human

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30
Q

Foreshadowing

A

D: When an author gives hints about what will occur later in the story

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31
Q

Genre

A

D: The major category into which a literary work fits. The basic divisions of literature are prose, poetry, and drama.

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32
Q

Gothic

A

D: Writing characterized by gloom, mystery, fear, and/or death. also refers to an architectural style of the middle ages, often seen in the cathedrals of this period.

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33
Q

Imagery

A

D: Word or words that create a picture in the reader’s mind. Usually this involves the five senses.

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34
Q

Invective

A

D: A long, emotionally violent, attack using strong, abusive language.

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35
Q

Irony

A

D: When the opposite of what you expect to happen does

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36
Q

Verbal Irony

A

D: When you say something and mean the opposite/something different

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37
Q

Dramatic Irony

A

D: When the audience of a drama, play, movie, etc. knows something that the character doesn’t and would be surprised to find out

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38
Q

Situational Irony

A

D: Found in the plot (or story line) of a book, story, or movie. Sometimes it makes you laugh because it’s funny how things turn out.

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39
Q

Juxtaposition

A

D: Placing things side by side for the purpose of comparison

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40
Q

Mood

A

D: The atmosphere created by the literature and accomplished through word choice(diction)

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41
Q

Motif

A

D: A recurring idea in a piece of literature

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42
Q

Oxymoron

A

D: When apparently contradictory terms are grouped together and suggest a paradox

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43
Q

Pacing

A

D: The speed or tempo of an author’s writing

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44
Q

Syntax, polysyndeton, anaphora, and meter

A

D: Used to changed the pacing of their words

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45
Q

Paradox

A

D: A seemingly contradictory situation which is actually true

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46
Q

Parallelism (parallel structure or balanced sentences)

A

D: Sentence construction which places equal grammatical constructions near each other, or repeats identical grammatical patterns

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47
Q

Anaphora

A

D: Repetition of a word, phrase, or clause at the beginning of two or more sentences or clauses in a row

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48
Q

Chiasmus

A

D: When the same words are used twice in succession, but the second time, the order of the words is reversed

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49
Q

Antithesis

A

D: Two opposite or contrasting words, phrases, or clauses, or even ideas, with parallel structure

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50
Q

Zuegma (Syllepsis)

A

D: When a single word governs or modifies two or more other words, and the meaning of the first word must change for each of the other words it governs or modifies

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51
Q

Parenthetical Idea

A

D: Parentheses are used to set off an idea from the rest of the sentence

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52
Q

Parody

A

D: An exaggerated imitation of a serious work for humorous purposes. It borrows words or phrases from an original, and pokes fun at it

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53
Q

Persona

A

D: The fictional mask or narrator that tells a story

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54
Q

Poetic Device

A

D: A device used in poetry to manipulate the sound of words, sentences, or lines

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55
Q

Alliteration

A

D: The repetition of the same consonant sound at the beginning of words

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56
Q

Assonance

A

D: The repetition of identical or similar vowel sounds

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57
Q

Consonance

A

D: The repetition of the same consonant sound at the end of words or within words

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58
Q

Onomatopoeia

A

D: The use of a word which imitates or suggests the sound that the thing makes

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59
Q

Internal Rhyme

A

D: When a line of poetry contains a rhyme within a single line

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60
Q

Slant Rhyme

A

D: When a poet creates a rhyme, but the two words do not rhyme exactly-they are merely similar

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61
Q

End Rhyme

A

D: When the last word of two different lines of poetry rhyme

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62
Q

Rhyme Scheme

A

D: The pattern of a poem’s end rhymes

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63
Q

Stressed and Unstressed Syllables

A

D: In every word of more than one syllable, one of the syllables is stressed or said with more force than the other syllable(s)

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64
Q

Meter

A

D: A regular pattern to the syllables in lines of poetry

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65
Q

Free Verse

A

D: Poetry that doesn’t have much meter or rhyme

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66
Q

Iambic Pentameter

A

D: Poetry that is written in 10 syllables, alternating stressed and unstressed syllables

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67
Q

Sonnet

A

D: A 14 line poem written in iambic pentameter. Usually divided into three quatrains and a couplet

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68
Q

Polysyndeton

A

D: When a writer creates a list of items which are all separated by conjunctions

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69
Q

Pun

A

D: When a word that has two or more meanings in used in a humorous way

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70
Q

Rhetoric

A

D: The art of effective communication

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71
Q

Rhetorical Question

A

D: Question not asked for information but for effect

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72
Q

Romanticism

A

D: Art or literature characterized by an idealistic, perhaps unrealistic view of people and the world, and an emphasis on nature

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73
Q

Sarcasm

A

D: A generally bitter comment that is ironically or satirically worded. However, not all satire and irony are sarcastic

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74
Q

Satire

A

D: A work that reveals a critical attitude toward some element of life to a humorous effect. Good satire usually has three layers: serious on the surface; humorous when you discover that it is satire instead of reality; and serious when you discern the underlying point of the author

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75
Q

Sentence

A

D: A sentence is a group of words (including subject and a verb) that expresses a complete thought

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76
Q

Appositive

A

D: A word or group of words places beside a noun or noun substitute to supplement its meaning

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77
Q

Clause

A

D: A grammatical unit that contains both a subject and a verb

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78
Q

Independent Clause

A

D: Expresses a complete thought and can stand alone as a sentence

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79
Q

Dependent, or Subordinate Clause

A

D: Cannot stand alone as a sentence and must be accompanied by and independent clause

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80
Q

Balanced Sentence or Parallelism

A

D: A sentence in which two parallel elements are set off against each other like equal weights on a a scale. Both parts are parallel grammatically.

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81
Q

Compound Sentence

A

D: Contains at least two independent clauses but no dependent clauses

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82
Q

Complex Sentence

A

D: Contains only one independent clause and at least one dependent clause

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83
Q

Cumulative Sentence or Loose Sentence

A

D: When the writer begins with an independent clause, then adds subordinate elements

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84
Q

Periodic Sentence

A

D: When the main idea is not completed until the end of the sentence

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85
Q

Simple Sentence

A

D: Contains only one independent clause

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86
Q

Declarative Sentence

A

D: States an idea. It does not give a command or request, nor does it ask a question

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87
Q

Imperative Sentence

A

D: Issues a Command

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88
Q

Interrogative Sentence

A

D: Sentences incorporating interrogative pronouns(What, Which, Who, Whom, and Whose)

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89
Q

Style

A

D: The choices in diction, tone, and syntax that a writer makes. Style may be conscious or unconscious.

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90
Q

Symbol

A

D: Anything that represents or stands for something else. Usually a symbol is something concrete such as an object, actions, character…that represents something more abstract.

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91
Q

Syntax

A

D: grouping of words

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92
Q

Diction

A

D: the selection of individual words

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93
Q

Sentence variety

A

D: Grammatical arrangement of words.

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94
Q

Theme

A

D: The central idea or message of a work

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95
Q

Thesis

A

D: The sentence or groups of sentences that directly expresses the author’s opinion, purpose, meaning, or proposition

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96
Q

Tone

A

D: A writer’s attitude toward his subject matter revealed through diction, figurative language and organization

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97
Q

Understatement

A

D: The ironic minimizing of fact, understatement presents something as less significant than it is.

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98
Q

Litotes

A

D: A particular form of understatement, generated by denying the opposite of the statement which otherwise would be used.

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99
Q

Argument

A

D: An argument is a piece of reasoning with one or more premises and a conclusion

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100
Q

Premises

A

D: Statements offered as reasons to support a conclusion are premises

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101
Q

Conclusion

A

D: A conclusion is the end result of the argument-the main point being made

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102
Q

Aristotle’s appeals

A

D: The goal of argumentative writing is to persuade an audience that ones ideas are valid, or more valid than someone else’s.

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103
Q

Ethos (Credibility)

A

D: Being convinced by the credibility of the author

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104
Q

Pathos (Emotional)

A

D: Means persuading by appealing to the reader’s emotions

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105
Q

Logos (Logical)

A

D: Means persuading by the use of reasoning, using true premises and valid arguments

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106
Q

Concession

A

D: Accepting at least part or all of an opposing viewpoint.

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107
Q

Conditional Statement

A

D: A conditional statement is an if-then statement and consists of two parts, an antecedent and a consequent

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108
Q

Contradiction

A

D: A contradiction occurs when one asserts two mutually exclusive propositions.

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109
Q

Counterexample

A

D: An example is an example that runs counter to (opposes) a generalization, thus falsifying it

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110
Q

Deductive Argument

A

D: An argument in which it is thought that the premises provide a guarantee of the truth of the conclusion

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111
Q

Fallacy

A

D: Attractive but unreliable piece of reasoning

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112
Q

Ad hominem

A

D: Latin for “against man”. Personally attacking your opponents instead of their arguments.

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113
Q

Appeal to Authority

A

D: The claim that because somebody famous supports an idea, the idea must be right

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114
Q

Appeal to bandwagon

A

D: The claim, as evidence for an idea, that many people believe it, or used to believe it, or do it.

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115
Q

Appeal to Emotion

A

D: An attempt to replace a logical argument with an appeal to the audience’s emotions.

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116
Q

Bad analogy

A

D: Claiming that two situations are highly similar, when they aren’t

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117
Q

Cliche thinking

A

D: Using as evidence a well-known saying, as if it is proven, or as if it has no exceptions

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118
Q

False Cause

A

D: Assuming that because two thing happened, the first one caused the second one

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119
Q

Hasty Generalization

A

D: A generalization based on too little or unrepresentative data.

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120
Q

Non Sequitur

A

D: Conclusion that does not follow from its premises; an invalid argument

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121
Q

Slippery Slope

A

D: Assumption that once started, a situation will continue to its most extreme possible outcome

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122
Q

Inductive Argument

A

D: An argument in which it is thought that the premises provide reasons supporting the probable truth of the conclusion

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123
Q

Sound Argument

A

D: Deductive argument is said to be sound if it meets two conditions: First, that the line of reasoning from the premises to the conclusion is valid. Second, that the premises are true.

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124
Q

Unstated Premises

A

D: Not every argument is fully expressed. Sometimes premises or even conclusions are left unexpressed.

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125
Q

Valid Argument

A

D: An argument is valid if the conclusion logically follows from the premises

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126
Q

Active Voice

A

E: “Anthony drove while Toni searched for the house.”

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127
Q

Passive Voice

A

D: When the subject of the sentence receives the action

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128
Q

Passive Voice

A

E: “The car was driven by Anthony”

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129
Q

Allusion

A

E: “You’re acting like a scrooge”

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130
Q

Alter-ego

A

E: In Shakespeare’s last play, The Tempest, Shakespeare talks to his audience about his own upcoming retirement, through the main character in the play, Prospero.

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131
Q

Anecdote

A

E: If a group of coworkers are discussing pets, and one coworker tells a story about how her cat comes downstairs at only a certain time of the night, then that one coworker has just told an anecdote

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132
Q

Antecedent

A

E: “If I could command the wealth of all the world by lifting my finger, I would not pay such a price for it.”

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133
Q

Classicism

A

E: Any architecture, painting or sculpture produced during the Middle Ages or later, which was inspired by the art of Ancient Greece or Ancient Rome

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134
Q

Comic Relief

A

E: The “gatekeeper scene” in Macbeth

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135
Q

Diction

A

E: Formal: The man spoke to his father in a low voice so others could not hear.
Informal: That guy told his dad secrets.

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136
Q

Colloquial

A

E: Words such as “ain’t” and “gonna”

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137
Q

Connotation

A

E: Denotation of the word “blue” is the color blue, but its connotation is “sad”

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138
Q

Denotation

A

E: Denotation of the word “blue” is the color blue

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139
Q

Jargon

A

E: Well-written fictional doctor will use medical lingo, just as a medical writer will use medical jargon in a creative nonfiction piece about the profession

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140
Q

Vernacular

A

E: From Zora Neale Hurston’s Their Eyes Were Watching God: Hand me dat wash-rag on dat chair by you, honey. Lemme scrub mah feet.

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141
Q

Didactic

A

E: Aesop’s Fables. Novels written for women in the 18th and 19th century were also often didactic, kind of like fictionalized conduct manuals.

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142
Q

Adage

A

E: “A rolling stone gathers no moss”

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143
Q

Allegory

A

E: “Animal Farm, by George Orwell”

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144
Q

Aphorism

A

E: Ben Franklin wrote many in Poor Richard’s Almanac, such as “God helps them that help themselves”, and “A watched pot never boils”

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145
Q

Ellipsis

A

E: “The whole day, rain, torrents of rain”

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146
Q

Euphemism

A

E: “Physically challenged” in the place of “crippled”…..”vertically challenged” in the place of “short”

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147
Q

Figurative Language

A

E: Some include simile, metaphor, personification, and many pun examples which are not to be taken seriously

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148
Q

Analogy

A

E: America is to the world as the hippo is to the jungle

149
Q

Hyperbole

A

E: My mother will kill me if I am late

150
Q

Idiom

A

E: I got chewed out by my couch

151
Q

Metaphor

A

E: My feet are popsicles

152
Q

Metonymy

A

E: Relations between London and Washington have been strained

153
Q

Synecdoche

A

E: “The cattle rancher owned 500 head.” “Check out my new wheels”

154
Q

Simile

A

E: My feet are so cold they feel like popsicles

155
Q

Synesthesia

A

E: A purplish scent filled the room

156
Q

Personification

A

E: The tired old truck groaned as it inched up the hill

157
Q

Foreshadowing

A

E: The leaves fell early that year

158
Q

Genre

A

E: Autobiography, biography, diaries, criticism, essays, and journalistic, political, scientific, and nature writing

159
Q

Gothic

A

E: Ann Radcliffe’s The Mysteries of Udolpho, Mary Shelley’s Frankenstein, Emily Bronte’s Wuthering Heights, and Bram Stoker’s Dracula

160
Q

Imagery

A

E: Taste-The familiar tang of his grandmother’s cranberry sauce reminded him of his youth

161
Q

Invective

A

E: Are you a chicken? You must have been a chicken in a previous life.

162
Q

Irony

A

E: A character stepping out into a hurricane and saying, “What nice weather we’re having”

163
Q

Verbal Irony

A

E: If your gym teacher wants you to run a mile in eight minutes or faster, but calls it a “walk in the park”

164
Q

Dramatic Irony

A

E: In many horror movies, we (the audience) know who the killer is, which the victim-to-be has no idea who is doing the slaying

165
Q

Situational Irony

A

E: Johnny spent two hours planning on sneaking into the movie theatre and missed the movie. When he finally did manage to sneak inside he found out that kids were admitted free that day.

166
Q

Juxtaposition

A

E: An author may juxtapose the average day of a typical American with that of someone in the third world in order to make a point of social commentary.

167
Q

Mood

A

E: Cheerful-This light-hearted, happy mood is shown with descriptions of laughter, upbeat song, delicious smells, and bright colors

168
Q

Motif

A

E: In to kill a Mockingbird, the idea that “you never really understand another person until you consider things from his or her point of view”

169
Q

Oxymoron

A

E: “wise fool”, “eloquent silence”, “jumbo shrimp”

170
Q

Pacing

A

E: fast, sluggish, stabbing, vibrato, staccato, measured, etc.

171
Q

Paradox

A

E: “You can’t get a job without experience, and you can’t get experience without getting a job”

172
Q

Parallelism

A

E: “Cinderella swept the floor, dusted the mantle, and beat the rugs”

173
Q

Anaphora

A

E: “I came, I saw, I conquered”

174
Q

Chiasmus

A

E: “Fair is foul and foul is fair” “When the going gets tough, the tough get going”

175
Q

Antithesis

A

E: “It was the best of times, it was the worst of times”

176
Q

Zuegma

A

E: “The butler killed the lights, and then the mistress.” “I quickly dressed myself and the salad”

177
Q

Parenthetical Idea

A

E: “In a short time (and the time is getting shorter by the gallon) America will be out of oil.”

178
Q

Parody

A

E: The Simpsons often parody Shakespeare plays. Saturday Night Live also parodies famous persons and events.

179
Q

Persona

A

E: The Love Song of J. Alfred Prufrock by T. S. Eliot. In this poem, the speaker is not the poet at all but a clearly defined character.

180
Q

Poetic Device

A

E:

181
Q

Alliteration

A

E: “Sally sells sea shells by the sea shore”

182
Q

Assonance

A

E: “From the molten-golden notes”

183
Q

Consonance

A

E: “Some late visitor entreating entrance at my chamber door”

184
Q

Onomatopoeia

A

E: Snap, rustle, boom, murmur

185
Q

Internal Rhyme

A

E: “To the rhyming and the chiming of the bells!”

186
Q

Slant Rhyme

A

“I sat upon a stone/ And found my life has gone”

187
Q

End Rhyme

A

E: “Roses are red, violets are blue,/ Sugar is sweet, and so are you.”

188
Q

Rhyme Scheme

A

E: a b a b c d c d

189
Q

Stressed and Unstressed Syllables

A

E: First syllable-Nathan and the second of the four syllables-Happiness

190
Q

Meter

A

E: Once upon a midnight dreary, while I pondered, weak and weary, (trochaic octameter)

191
Q

Free Verse

A

E: TS Elliot’s “The Love Song of J. Alfred Prufrock”

192
Q

Iambic Pentameter

A

E: “Shall I compare thee to a summer’s day”

193
Q

Sonnet

A

E: “Death be not proud.” —John Donne

194
Q

Polysyndeton

A

E: “I walked the dog, and fed the cat, and milked the cows”

195
Q

Pun

A

“My dog has a fur coat and pants!”

196
Q

Rhetoric

A

E: They might say that a politician is “all rhetoric and no substance,”

197
Q

Aristotle’s Rhetorical Triangle

A

E: Subject, audience, etc.

198
Q

Rhetorical Question

A

E: “The angry parent asked the child, ‘Are you finished interrupting me?’ “

199
Q

Romanticism

A

E: the publication Lyrical Ballads by Wordsworth and Coleridge. the composition Hymns to the Night by Novalis. … works by German romantic writers such as Ludwig Tieck, Heinrich von Kleist, Friedrich Holderlin, Joseph Freiherr von Eichendorff, Clemens Brentano, Achim von Arnim

200
Q

Sarcasm

A

E: Mark Antony makes a speech in which he repeatedly refers to Brutus as “honourable.” This is a sarcasm example because Brutus has participated in the murder of his friend, and thus Mark Antony thinks him anything but honorable

201
Q

Satire

A

E: George Orwell’s famous 1945 novel Animal Farm is a good example of Juvenalian satire. The novel’s intended target is communism and Stalin-era Soviet Union

202
Q

Sentence

A

E: Maria took her dog to the park to play

203
Q

Appositive

A

E: “Bob, the lumber yard worker, spoke with Judy, an accountant from the city.”

204
Q

Clause

A

E: when she wakes up. (This is a clause. It has a subject (“she”) and a verb (“wakes up”).)

205
Q

Dependent, or Subordinate Clause

A

E: Other than baseball, football is my favorite sport.

206
Q

Balanced Sentence

A

E: “If a free society cannot help the many who are poor, it cannot save the few who are rich”

207
Q

Compound Sentence

A

E: “This house is too expensive, and that house is too small.”

208
Q

Complex Sentence

A

E: “Whenever he was lonely, Lance called his mother.”

209
Q

Cumulative Sentence

A

E: “He doubted whether he could ever again appear before an audience, his confidence broken, his limbs shaking, his collar wet with perspiration.”

210
Q

Periodic Sentence

A

E: “His confidence broken, his limbs shaking, his collar wet with perspiration, he doubted whether he could ever again appear before an audience.”

211
Q

Simple Sentence

A

E: Joe waited for the train. The train was late

212
Q

Declarative Sentence

A

E: “The ball is round”

213
Q

Imperative Sentence

A

E: “Kick the ball”

214
Q

Interrogative Sentence

A

E: “To whom did you kick the ball?”

215
Q

Style

A

E: Say an author needs to describe a situation where he witnessed a girl picking a flower: “She picked a red rose from the ground. Scarlet was the rose that she plucked from the earth.”

216
Q

Symbol

A

E: The whale in Moby Dick, the river and the jungle in Heart of Darkness, and the Raven in “The Raven”

217
Q

Syntax/Sentence Variety

A

E: “The boy ran hurriedly,” reads differently than, “Hurriedly, the boy ran.”

218
Q

Theme

A

E: “Love,” “war,” “revenge,” “betrayal,” “patriotism,” “grace,” “isolation,” “motherhood,” “forgiveness,” “wartime loss,” “treachery,” “rich versus poor,” “appearance versus reality,” and “help from other-worldly powers.”

219
Q

Thesis

A

E: In “A Worn Path,” Eudora Welty creates a fictional character in Phoenix Jackson whose determination, faith, and cunning illustrate the indomitable human spirit.

220
Q

Tone

A

E: Playful, serious, businesslike, sarcastic, humorous, formal, somber, etc.

221
Q

Understatement

A

E: “our defense played valiantly, and held the other team to merely eight touchdowns in the first quarter”

222
Q

Litotes

A

E: Hitting that telephone pole certainly didn’t do your car any good; The flavors of the mushrooms, herbs, and spices combine to make the dish not at all disagreeable.

223
Q

Argument

A

E: Premise - All Spam is pink; Premise - I am eating spam; Conclusion- I am eating something that is pink

224
Q

Premises

A

E: All spam is pink or I am eating spam

225
Q

Conclusion

A

E: I am eating something that is pink

226
Q

Aristotle’s Appeals

A

E: Ethos, Pathos, and Logos

227
Q

Ethos

A

E: “As a doctor, I am qualified to tell you that this course of treatment will likely generate the best results.”

228
Q

Pathos

A

E: “If we don’t move soon, we’re all going to die! Can’t you see how dangerous it would be to stay?”

229
Q

Logos

A

E: From our man Aristotle himself: All men are mortal. Socrates is a man.

230
Q

Concession

A

E: A teenager arguing to her parents that she needs a cell phone makes the following concession: I know that you think I will just use the phone to text during class and call friends instead of doing homework

231
Q

Conditional Statement

A

E: “If you studied hard, then you will pass the test

232
Q

Contradiction

A

E: “Abortion is wrong and abortion is not wrong”

233
Q

Counterexample

A

E: Premise- Jane argued that all whales are endangered; Premise- Belugas are a type of whale; Premise- Belugas are not endangered; Conclusion- Therefore, Jane’s argument is unsound

234
Q

Deductive Argument

A

E: Premise 1- If it rains, it means that the sky is cloudy. Premise 2- There is not any cloud in the sky. Conclusion-Therefore, it means that it is raining.

235
Q

Fallacy

A

E: Ad hominem, Appeal to authority, Appeal to bandwagon, Appeal to emotion, Bad analogy, Cliche Thinking, False Cause, Hasty generalization, Non Sequitur, and Slippery Slope

236
Q

Ad Hominem

A

E: “You ugly”

237
Q

Appeal to authority

A

E: A commercial claims that a specific brand of cereal is the best way to start the day because athlete Michael Jordan says that it is what he eats every day for breakfast.

238
Q

Appeal to bandwagon

A

E: In the 1800s, there was a widespread belief that bloodletting cured sickness.

239
Q

Appeal to Emotion

A

E: Appeal to sympathy, appeal to revenge, an appeal to patriotism-basically any emotion can be used

240
Q

Bad analogy

A

E: “We have pure food and drug laws regulating what we put in our bodies; why can’t we have laws to keep musicians from giving us filth for the mind?”

241
Q

Cliche Thinking

A

E: “I say- ‘America: love it or leave it’. Any one who disagrees with anything our country does must hate America. So maybe they should just move somewhere else”

242
Q

False Cause

A

E: “Before women got the right to vote, there were no nuclear weapons. Therefore women’s suffrage must have led to nuclear weapons.”

243
Q

Hasty Generalization

A

E: “My uncle didn’t go to college, and he makes a lot of money. So, people who don’t go to college do just as well as those who do.”

244
Q

Non Sequitur

A

E: “Hinduism is one of the world’s largest religious groups. It is also one of the world’s oldest religions. Hinduism helps millions of people lead happier, more productive lives. Therefor the principles of Hinduism must be true.”

245
Q

Slippery Slope

A

E: “If you drink a glass of wine, then you’ll soon be drinking all the time, and then you’ll become a homeless alcoholic.”

246
Q

Inductive Argument

A

E: A third marble from the bag is black. Therefore all the marbles in the bag are black.

247
Q

Sound Argument

A

E: In some states, no felons are eligible voters, that is, eligible to vote.

248
Q

Unstated Premises

A

E: Socrates is a human. Therefore, Socrates is mortal.

249
Q

Valid Argument

A

E: Premise-All flightless birds are man-eaters; Premise-The penguin is a flightless bird; Premise-Therefore, the penguin is a man-eater

250
Q

Active Voice

A

T: Creates lively writing, with actions to engage audience

251
Q

Allusion

A

T: Make a connection with the reader about something they are familiar with to help them better understand

252
Q

Alter-ego

A

T: So the audience can see through the character and get to know the author without being taken out of the scene/story

253
Q

Anecdote

A

T: They help to develop the authors point and insert humor

254
Q

Antecedent

A

T: It helps the piece of literature become much more clear and easy to comprehend

255
Q

Classicism

A

T: Creates a sense of literal environment surrounding the topic and reality is very present

256
Q

Comic Relief

A

T: Allows the reader to tap into their humorous side and it allows them to view the author in a less serious light

257
Q

Diction

A

T: They help to develop the author’s purpose and delivery of the story. They can be used to offer a sense of tone as well.

258
Q

Colloquial

A

T: Brings a sense of familiarity to the text

259
Q

Connotation

A

T: It aids readers in separating from the literal meaning of words and begin to think with a more abstract mind.

260
Q

Denotation

A

T: Words that are used literally to give a clear understanding of what is going on in the text

261
Q

Jargon

A

T: This is used to emphasis a certain situation and further develop the characters and the plot,

262
Q

Vernacular

A

T: Creates a natural and/or conversational style to writing which makes it easier to read for broad audiences

263
Q

Didactic

A

T: To inform or instruct the reader, especially in moral or political lessons

264
Q

Adage

A

T: Effectively communicates a message to the audience through folk tale

265
Q

Allegory

A

T: The story elements come together to reveal some truth

266
Q

Aphorism

A

T: This allows a general truth to be revealed that reflects the author’s point so the reader can fully understand the lengths the author went to.

267
Q

Ellipsis

A

T: This leaves the audience on a suspenseful cliff, wanting to know more about what the author has to say.

268
Q

Euphemism

A

T: Used to exaggerate correctness in order to add humor

269
Q

Figurative Language

A

T: Meant to allow the reader to imagine the possibilities of the story trapped underneath the words

270
Q

Analogy

A

T: Creates an accurate set of variables to another through creative writing

271
Q

Hyperbole

A

T: Exaggeration is used to highlight points and place emphasis on a situation that the author believes is important to them.

272
Q

Idiom

A

T: Forces the reader to open their eyes to see that every word does not have to be taken literally and in order to understand the piece of literature fluently, they must crack the code.

273
Q

Metaphor

A

T: Makes a clear comparison without fancy words, it is blatant and direct.

274
Q

Metonymy

A

T: This may help some readers understand what the author is attempting to say better, it also leaves you curious as to why the author didn’t include the literal words in the first place.

275
Q

Synecdoche

A

T: Allows for some context alongside the use of metonymy

276
Q

Simile

A

T: Allows for a familiar and recognizable sense of comparison where most readers will understand they need to connect both words on either side of “like” or “as”

277
Q

Synesthesia

A

T: Creates an imaginative and free flowing space where senses can run together and create a story based off of the reader’s experience and interpretation

278
Q

Personification

A

T: It can help elaborate on the setting and the purpose of the object in the story

279
Q

Foreshadowing

A

T: Charges the story for something big in the future and allows the reader to ready themselves so they are no caught so off guard

280
Q

Genre

A

T: Genre gives the story a little context and allows the reader to recognize which way they should go about interpreting it.

281
Q

Gothic

A

T: Creates a more gloomy feel for a story outside of the normal neutral or happy or fun story

282
Q

Imagery

A

T: Appeals to those who are able to create images based off of descriptions and settings in a story

283
Q

Invective

A

T: Allows the reader to see how the author or character is feeling in the situation

284
Q

Irony

A

T: This can create unintentional yet meaningful messages for the reader given that the situation didn’t work out as planned

285
Q

Verbal Irony

A

T: Verbal irony assist the character in showing their personalities and therefore, further developing the story

286
Q

Dramatic Irony

A

T: It allows us to see into the character as well because it provides us with a situation where the character is surprised and has no option but to respond with their true feelings.

287
Q

Situational Irony

A

T: Authors use this to create a more relatable situation for the reader.

288
Q

Juxtaposition

A

T: It assists the author in making a point they feel is important for the readers to grasp.

289
Q

Mood

A

T: Increases the complexity of the piece by displaying how the author is feeling, giving more meaning to the words they wrote.

290
Q

Motif

A

T: This keeps the readers on track with the author to make sure they are still engaged and as the story progresses, they can understand that the story and its constant message

291
Q

Oxymoron

A

T: This is a thinking point for readers as contradictory points could be seen as comparison but in this case, they create a unique statement into a unique circumstance

292
Q

Pacing

A

T: This can change the message that the reader perceives. As far as rhythm goes, it sets the tone for the story and in turn would either connect or disconnect the reader based off their preference.

293
Q

Paradox

A

T: It brings a sense of truth to a literary piece, conveying a message that’s true but unconventional

294
Q

Parallelism

A

T: They can add emphasis, organization, or pacing in writing.

295
Q

Anaphora

A

T: This delivers an artistic effect to the passage

296
Q

Chiasmus

A

T: This shows the evidence as the story comes full circle, seeming to be complete and gives a sense of symmetry

297
Q

Antithesis

A

T: It emphasizes the difference between two completely separate ideas by putting them side by side.

298
Q

Zuegma

A

T: It inspires the reader to think more deeply on the topics discussed

299
Q

Parenthetical Idea

A

T: Sparingly used to provide information and abruptly explain a concept, word, or phrase so the reader can better understand

300
Q

Parody

A

T: Humorous imitation by exaggeration, giving the reader an alternate side of them and allowing them to laugh alongside the author

301
Q

Persona

A

T: Shows the expression of ideas, beliefs, and voices authors are not able to express freely for the audience

302
Q

Poetic Device

A

T: Enhance the rhythm and timing of the poem, potentially changing the meaning

303
Q

Alliteration

A

T: Help develop the mood or tone of a passage

304
Q

Assonance

A

T: Same as consonance- It helps to identify how the author wanted the piece to be read, as far as phrasing and pronunciation goes.

305
Q

Consonance

A

T: Same effect as assonance- It helps to identify how the author wanted the piece to be read, as far as phrasing and pronunciation goes.

306
Q

Onomatopoeia

A

T: Gives a clear description of what is happening using the sound

307
Q

Internal Rhyme

A

T: To make the poem seem more unified within the rhyme scheme and heighten the poem’s effect

308
Q

Slant Rhyme

A

T: Gives a slightly calmer approach to the rhyme scheme, still getting their point across but not exactly conforming to the normal poetry patterns

309
Q

End Rhyme

A

T: Traditionally what is known to signify poetry, creating a familiarity in the reader’s mind and allowing a clearer path to follow

310
Q

Rhyme Scheme

A

T: Depending on which scheme is chosen, shows the authors headspace and how broad they thought about their poem and where their points begin and end

311
Q

Stressed and Unstressed Syllables

A

T: Word choice help determine what emphasis needs to be put on words, altering the meaning to whatever the author desires

312
Q

Meter

A

T: With a common or repetitive meter, it allows for the reader to more easily follow the author’s path as they move through their poem

313
Q

Free Verse

A

T: Opens the door for creativity and interpretation from the audience because there is no definite form that it followed

314
Q

Iambic Pentameter

A

T: This gives the reader a popcorn effect, allowing them to be able to notice a pattern and regularly be engaged in the story as the emphasis on the words changes

315
Q

Sonnet

A

T: A big group of Iambic Pentameter allows for continuous pattern and excitement all at once. It also allows you to strengthen your analytical skills.

316
Q

Plysyndeton

A

T: Slows down the pace of the writing and/or add an authoritative tone

317
Q

Pun

A

T: Used to create humor that the reader can use to connect with the author

318
Q

Rhetoric

A

T: This offers a whole new view of literature as you begin to analyze the various parts of the piece of writing, why it was including, and each section’s purpose.

319
Q

Rhetoric Question

A

T: This allows the reader to understand more of where the author is coming from without them actually saying flat out in words. It also helps the readers be able to agree with the author.

320
Q

Romanticism

A

T: Allows the reader to see the beauties of the world and tends to give more of a positive insight on a situation, even if it is mostly negative.

321
Q

Sarcasm

A

T: It takes away some of the serious tone that could be wired into the piece, showing a relatable statement or phrase that was used in the passage.

322
Q

Satire

A

T: Targeted at certain audiences, this seems to be a great way to include humor in an area that would normally create tension.

323
Q

Sentence

A

T: Effects a piece by relying on each one to come together and create one big subject.

324
Q

Appositive

A

T: Gives meanings to different sentences in literary texts, and helps in identifying other nouns

325
Q

Clause

A

T: Gives the text a complete thought and can stand alone, leaving the reader clear and content

326
Q

Balanced Sentenced

A

T: Easy to understand and provides enough information necessary to comprehend what the author is trying to say

327
Q

Compound Sentence

A

T: Cuts time so there are two complete thoughts in a sentence, giving the reader twice as much information

328
Q

Complex Sentence

A

T: Can force the reader to focus on one part of a sentence (one idea) rather than another part of a sentence

329
Q

Cumulative Sentence

A

T: These are easier to understand, straightforward, and simple

330
Q

Periodic Sentence

A

T: This creates dramatic tension and suspense to the main point at the end of the sentence

331
Q

Simple Sentence

A

T: They can create tension, haste, or urgency.

332
Q

Declarative Sentence

A

T: These avoid any special emotional impact, because they are so straightforward and direct with the points they are making

333
Q

Imperative Sentence

A

T: It gives the reader a command/tells them to do something and get active.

334
Q

Interrogative Sentence

A

T: Directly asking a question or making a request, but they are also used to convey such speech acts indirectly.

335
Q

Style

A

T: Influences the reader’s impression of the information itself

336
Q

Symbol

A

T: Used to produce an impact on the readers

337
Q

Syntax/Sentence Variety

A

T: To achieve certain artistic effects, like mood, and tone

338
Q

Theme

A

T: This enhances the enjoyment and significance of a literary work for readers by encouraging thought, interpretation, and analysis

339
Q

Thesis

A

T: Allows the audience to see where the author stands in regards to their topic

340
Q

Tone

A

T: Gives the story life and molds it into something that can be presented to an audience for them to receive and connect with.

341
Q

Understatement

A

T: It created the illusion that the issue at hand is not as bad as it truly is and creates a false feeling of safety or comfort.

342
Q

Litotes

A

T: Affirms a positive statement or sentiment typically through the use of double negatives

343
Q

Argument

A

T: Leaves you with one (or both) sides of a topic and gives you enough information to decide for yourself which side you are going to be on.

344
Q

Premises

A

T: Serve as both a hook for the reader and a guiding light for the writer

345
Q

Conclusion

A

T: It gives your reader a clear take away from your topic, with the hopes that you have inspired them or persuaded them to participate in whatever it was that the author wrote about.

346
Q

Aristotle’s Appeals

A

T: Allow the passage to be transformed into a moving piece that reaches various audiences, especially the one it was written for

347
Q

Ethos

A

T: It creates more of a connection between the author and the reader through their personal stories

348
Q

Pathos

A

T: Allows the audience to connect through emotions and feelings they may have towards the subject, moving them emotionally which would hopefully turn into physical action if needed.

349
Q

Logos

A

T: Reasoning with the audience allows them to see a clear and factual approach, for those who prefer this appeal

350
Q

Concession

A

T: Makes someone’s argument seem stronger by conforming to reason and truth

351
Q

Conditional Statement

A

T: Serve as a guiding light for arguments, connecting them and the author’s ideas and beliefs

352
Q

Contradiction

A

T: If purposefully, the author may use this in order to prove a point or put emphasis on the point they are trying to make

353
Q

Counterexample

A

T: It can answer some questions the reader might have and if there isn’t exact evidence to prove the author’s claim, this can act as evidence but almost in reverse

354
Q

Deductive Argument

A

T: Provided support for the conclusion and if all evidence is true would make it almost impossible for the conclusion to be false

355
Q

Fallacy

A

T: Using this could leave the author’s passage looking unreliable and leave the reader searching for something to prove their claim

356
Q

Ad Hominem

A

T: Allows writers to emphasize outside factors influencing the arguer

357
Q

Appeal to Authority

A

T: May create some sort of excitement within the readers if the celebrity is someone they know of but for the logical readers, they will understand that the statement still has no credibility if that isn’t their expertise

358
Q

Appeal to Bandwagon

A

T: Would cause some readers to believe that because the claim had been backed up and believed by a lot of people, it is true

359
Q

Appeal to emotion

A

T: Like Ethos, for those it appeals to, readers would be persuaded by the evidence provided by their own emotions which can sometimes be overwhelming and hard to ignore

360
Q

Bad Analogy

A

T: This could decrease credibility within the author if the readers are educated on the topic, and discredit the passage because it seems as thought the author does not fully understand their topic

361
Q

Cliché Thinking

A

T: They generally reflect poorly on the writer and make them appear unoriginal, without imagination, lazy, or unskilled; therefore discrediting their piece of writing as well

362
Q

False Cause

A

T: Can be mistaken for cause and effect pieces but not knowing the history of the events can further discredit the piece of writing

363
Q

Hasty Generalization

A

T: This begins to reflect the piece of writing as somethin that has not been properly analyzed by the author and requires a lot of revision, but the morals it requires to see past hasty generalization would for sure end up discrediting the author for most

364
Q

Non Sequitur

A

T: Drawing false conclusions from evidence not presented can appear to be completely falsified even if it is the truth

365
Q

Slippery Slope

A

T: Reality and Logic are really important factors to be aware of when someone is writing a piece of literature and the absence of those can be a bit overwhelming given the extremities.

366
Q

Inductive Argument

A

T: It makes the argument seem so strong that it appears to be unlikely that the conclusion is false

367
Q

Sound Argument

A

T: The qualifications that pertain to the deductive argument create the assumption that the argument is valid

368
Q

Unstated Premises

A

T: This allows the audience to draw the conclusion and use their own reasoning to determine whether or not they believe the argument, which would technically be their own

369
Q

Valid Argument

A

T: These allow the reader to look past the burden of establishing or demolishing the author’s credibility and leaves them to determine whether they agree or disagree with the argument being made

ap lang glossary (1 decks)

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