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(adj) truthful and straighforward; frank |
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(adj) having or showing intense and eager enjoyment, interest, or approval |
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(adj) used in ordinary or familiar conversation; not formal or literary |
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(adj) expressing strong disapproval; censorious |
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(v) to arouse fierce anger, shock, or indignation in |
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(adj) deriving from or affected by uncontrolled extreme emotion |
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(v) to alleviate or lessen the grief, sorrow, or disappointment of; give solace or comfort |
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(v) giving support; providing sympathy or encouragement; providing additional help or information |
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(v) characterized by, proceeding from, exhibitting, or feeling sympathy |
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(v) to smile, laugh, or contort the face in a manner that shows scorn or contempt |
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(adj) showing or implying a usually patronizing, descent from dignity or superiority |
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(adj) an act or instance of judging |
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Conventions: Underlining vs. Quotation Marks |
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Underlining: to indicate titles of complete works such as magazines, books, newspapers, long poems, etc.
Quotations Marks: titles of short stories, poems, songs, articles, or chapters |
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capitalization, grammar, punctuation |
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to prove the correctness of another's claim by substantiating with your own position/evidence |
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prove incorrectness or another's claim by refuting with your own position |
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set limitations of correctness of author's claim by substanciating it with your own evidence/position |
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Argumentation: Argument Terminology: Claim |
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states position on piece chose to write about |
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Argumentation: Argument Terminology: Evidence |
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Argumentation: Argument Terminology: Warrant |
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interprets evidence and supports the claim |
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Argumentation: Rhetorical Triangle |
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speaker, audience, message |
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Analysis: Analysis vs. Summary |
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Analysis: Steps in Analysis |
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Analysis: Rhetorical Choices: Diction |
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Analysis: Rhetorical Choices: Syntax |
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Analysis: Rhetorical Choices: Imagery |
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the formation of mental rhetorical images |
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Analysis: Rhetorical Choices: Figurative Language |
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language that contains or uses figures or speech, especially metaphors |
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Analysis: Rhetorical Choices: Structure |
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framework of a work of literature |
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Analysis: Rhetorical Choices: Tone |
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writer's attitude toward the material or reader(s) |
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Syntax: Constructs: Functional: Declarative |
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makes a statement
"You ate lunch." |
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Syntax: Constructs: Functional: Interrogative |
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ask a question
"Did you eat lunch?" |
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Syntax: Constructs: Functional: Exclamatory |
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expressed strong feeling
"Please eat your lunch!" |
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Syntax: Constructs: Grammatical: Simple |
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one independent caluse, no dependent clause
"John and Mary waved at Sue." |
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Syntax: Constructs: Grammatical: Compound |
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two or more independent clauses
"John and Mary waved, but they did not speak." |
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Syntax: Constructs: Grammatical: Complex |
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one independent, one or more independent
"Although John and Mary waved at Sue, they did not speak." |
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Syntax: Constructs: Grammatical: Compound-Complex |
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two or more independent, one or more dependent
"Although John and Mary waved at Sue, they did not speak; however, the wave was friendly enough." |
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Syntax: Constructs: Rhetorical: Periodic |
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main idea (S and V) come at the end
not grammatically complete until the end
"Sitting in her lounge chair, sunglasses shielding her eyes, head tilting to the side, her book lying open on her lap, Susan patiently waited." |
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Syntax: Clauses: Independent |
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a clause that can stand by itself |
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Syntax: Clauses: Dependent |
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a clause that cannot stand by itself |
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repetition of the last word of one clause at the beginning of following clause
"The crime was common, common be the pain."
"Beech changed to elm, and elm to fir, and fir to stone." |
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the repetition of the same words or group of words at the beginning of sucessive clauses
"We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields, and in the steets, we shall fight in the hills." |
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repetition of words, in successive clauses, in reverse grammatical order
"One should eat to live, not live to eat.
"Ask not what your country can do for you; ask what you can do for your country." |
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the juxtapositions of contrasting ideas, often used in parallel structure (may be in words or in ideas, or both) |
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placing side by side two coordinate elements, the second of which serves as an explanation of modification of the first
"The mountain was the earth, her home." |
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deliberate omission of conjunctions between a series of related clauses
"I came, I saw, I conquered."
"They may have it in well doinf, thet have it learning, they may have it even criticism." |
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(the "criss-cross") reversal of grammatical structures in successive phrases or clauses
"Exalts his enemies, his friends destroy"
"His time a moment, and a point his space." |
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deliberate omiss on of a word or words which are readily implied by the context.
"And he to English shall along along with you." |
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repetition at the end of a clause of the words and occurred at the beginning of the clause
"Blood hath brough blood, and blows have answered blows: Strength match'd with strength, and power confronted power." |
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repetition of the same words or group of words at the end of successive clauses
"When we firs came we were very many and you were few. Now you are many and we are getting very few." |
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the use of exaggerated terms for the purpose of emphasis or heightened effect
"It rauned for four years, eleven months and two days." |
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a scheme of parallel structure which occurs when the paralle elements are similar not only in grammatical structure, but also in length
"His purpose was to impress the ignorant, to perplex the dubious, and to confound the scrupulous." |
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similarity of structure in a pair or series of related word, phrases, or clauses
"So Janey waited a bloom time, and a green time and a orange time." |
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insertion of some verbal unit in a position that interrupts the normal syntactical flow of the sentences
Can be parentheses, commas, or dashes
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repetition of words derived from the same root
"We could like to contain the uncontainable future in a glass." |
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deliberate use of many conjuctions
The effect of polysndeton is to slow down the rhythm of the sentence
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a figured of speech in the form of a question that is asked in order to make a point and without the expectation of a reply |
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arrangement of words, phrases, or clauses in an order of increasing importance
"Let a man acknowledge obligations to this family, his country, and his God." |
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Syntax: Constructs: Rhetorical: Cumulative |
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beings with the main idea (independent clause)
followed by phrases and clauses which elaborate upon the main
"Susan patiently waited, sitting in her lounge chair, sunglasses shielding her eyes, head tilting to the side, her book lying open to her lap."
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