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| diction, syntax, figurative language, and sentence structure |
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| implied comparison resulting when one thing is directly called another |
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| informal sentences where the main idea comes first |
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| a figure of speech using implied comparison of seemingly unlike things or the substitution of one for the other |
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"changed label" or "substitute name"
the name of one object is substituted for that of another closely associated with it |
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grammatical- indicative (factual), subjunctive (doubt), imperative (commands)
literary- prevailing atmosphere |
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tools of the storyteller
biographical and autobiographical writing |
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| style of telling the "story" |
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| a sentence that begins by stating what is not true, then ending by stating what is true |
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| writer removing himself from any subjective, personal involvement in a story |
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| natural sounds are imitated in the sounds of words |
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"pointedly foolish"
contradictory terms to suggest a paradox |
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| appears to be self-contradictory but contains some truth |
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| sentence construction which places in close proximity two or more equal grammatical constructions |
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| imitates the style of another with the aim of comic effect and/or ridicule |
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| overly scholarly, academic, or bookish |
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main clause at the end
add emphasis and structural variety |
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| an adapted fictional voice |
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| describes concepts, animals, or inanimate objects by endowing them with human attributes or emotions |
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strong connotations
intensify the emotional effect and complement the argument |
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the perspective from which a story is told
first person pronoun "I"
third person pronoun "he," "she," "it"
third person omniscient= presents the thoughts and actions of any or all characters
third person limited omniscient= presents the feelings and thoughts of only one character but presents the actions of all remaining characters |
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| conjunctions with no commas |
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| Post hoc ergo propter hoc |
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"after this, therefore because of this."
one thing follows another, the first cause the second |
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| all forms of fiction and nonfiction except poetry or drama |
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| when a writer raises an irrelevant issue to draw attention away from the real issue |
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| when a writer musters relevant opposing arguments |
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| duplication of any element of language |
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| all the devices of composition available to a writer |
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"orator"
principles of writing effectively, eloquently, and persuasively |
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| tools of rhetoric (tone, diction, and imagery) |
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the variety, the conventions, and the purposes of the major kinds of writing
the modes of discourse:
1) exposition: to explain
2) argumentation: to prove the validity of an idea
3) description: to re-create an event
4) narration: to tell a story |
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| how a passage is constructed |
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"to tear flesh"
bitter language that is not meant to hurt or ridicule someone or something |
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| reveals a critical attitude toward some element of human behavior by portraying it in an extreme way |
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| the branch of linguistics that study words |
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| type of sentences the author uses |
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figurative comparison of two things
"like" or "as" |
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| when a writer argues against a claim that nobody actually holds |
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1) evaluation of choice an author makes in blending literary devices
2) classification of authors to a group and comparison of an author to similar authors |
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| all of the elements in language that contribute to style (diction, syntax, tone, attitude, figures of speech, connotations, and repetition) |
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"reckoning together"
TRANSITIVE PROPERTY
deductive system of formal logic that presents two premises that lead to a sound conclusion |
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anything that represents or stands for something else
1) natural: objects
2) conventional: groups
3) literary: generally recognized |
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| the ability to create a variety of sentence structures |
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| sentences structures that are extraordinarily complex and involved |
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| the way an author chooses to join words into phrases, clauses, and sentences |
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| central idea or message of a work |
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| the sentence that directly expresses the author's opinion, purpose, meaning, or proposition |
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| author's attitude toward his or her material, the audience, or both |
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| sentence consisting of three parts of equal importance and length |
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ironic minimalizing of fact
presents something as less significant than it is |
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modernly: intellectually amusing language that surprises and delights
historically: basic understanding
basic understanding-->speed of understanding-->quick perception including creative fancy |
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