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Praxis II - English
Test - 0041
| Question | Answer |
|---|---|
| Literary element related to style; Repetition of consonant sounds, especially at the end of stressed syllables | Consonance |
| Literary element related to style; Repetition of vowel sounds | Assonance |
| Literary element related to plot; A state of uncertainty or not knowing; Provide example | Suspense Robinson Crusoe by Daniel Defoe |
| Literary element related to plot; Use of emotionally charged words, expressions, or events in order to provoke a strong reaction in the reader; Provide example | Sensationalism "Hansel and Gretel" |
| Literary element related to climax; Reader mistakenly believes that all the story's questions have been answered only to find that the story or book has new twists and turns | False climax |
| Refers to the ending of the book; ending that leaves some of the reader's questions unanswered, some plot points unresolved (series); ending that answers all the reader's questions | Denouement; open denouement; closed denouement |
| Literary element related to plot; Requires one to read the entire book or story to find answers to the question(s) in the plot | Progressive plot |
| Literary element related to plot; Features individual chapters or episodes that are related to each other but each of which is a story unto itself; Provide example | Episodic plot; Robert Newton Peck - Soup Series |
| Literary element related to setting; A setting that is not essential to the plot | Backdrop setting |
| Literary element related to setting; A setting that serves as an illustion | Figurative setting |
| Literary element related to setting; A setting that is essential to the plot | Intregal setting |
| A character that is fully described or revealed | Round character |
| A character that is not fully developed, described, or revealed | Flat character |
| A character that is developing or changing | Dynamic character |
| A character that is unchanging | Static character |
| Literary element related to theme; Face many life threatening situations that they should not survive, but do; Provide 2 examples | Survival of the Unfittest Theme; Gulliver's Travels by Jonathan Swift and Robinson Crusoe by Daniel Defoe |
| Literary element related to theme; A journey brings excitement and danger to the character's life; Adds excitement for the reader too; Provide 2 examples | Picaresque Theme; Gulliver's Travels by Jonathan Swift and Robinson Crusoe by Daniel Defoe |
| Literary element related to theme; Change or complete turnabout in the circumstance(s) of a character(s); Provide an example | Reversal of Fortune Theme; Heidi |
| Nonfiction prose meant to inform the reader | Expository |
| Group of lines to which there is often a metrical order and a repeated rhyme; related to poetry | Stanza |
| Can refer to corresponding sounds, to rhyme schemes, and/or to the metrical order; related to poetry | Rhyme |
| Type of rhyme that occurs at the end of the line (poetry) | End rhyme |
| Type of rhyme with one rhyming word within the line | Internal rhyme |
| Type of poem refered to at vers libre or "free verse"; poet does not have to adhere to any specific rules | Open-form poem |
| Type of poem where the poet adheres to the form, number or lines, rhyme scheme, meter, and/or shape | Closed-form poem |
| Type of closed-form poem consisting of 14 lines | Sonnet |
| Type of sonnet consisting of 2 groups: an octave (8 lines) which may set up a problem or proposition and a sestet (6 lines) which may provide the answer or resolution after a turn/shift; rhyme scheme = abbaabba - cdecde | Petrarchan Sonnet |
| Type of sonnet that consists of 3 quatrains (groups of 4 lines) and a couplet (2 rhyming lines); rhyme scheme = abab cdcd efef gg | Shakespearean Sonnet |
| Refers to the impression or feeling a words gives beyond its exact meaning | Connotation |
| Refers to the precise meaning of a word | Denotation |
| Literary element related to POV; Narrator does not participate in the action | Third Person POV |
| Literary element related to POV; Writer simply tells the happenings without voicing an opinion; the narrator never reveals what the characters are thinking or feeling | Objective POV |
| Literary element related to POV; A narrator who knows all about the characters and the actions and shares this information with the audience | Omniscient POV |
| Refers to the author's choice of words | Diction |
| Type of irony that refers to a discrepancy between what happens and what the reader expects to happen | Situational irony |
| Type of irony where there is a contrast between what is said and what is meant | Verbal irony |
| 19th-20th Century (1800s-1900s); Emphasized individual existence, freedom, and choice; argue that there is no objective, rational basis for moral choice; List example authors (5) | Existentialism; Danish philosopher Soren Kierkegaard, Blaise Pascal, Friedrich Nietzsche, Martin Heidegger, Jean-Paul Sartre |
| First decades of 20th Cent.; Can describe the content and the form of a work, or either aspect alone; experimentation and the realization that knowledge is not absolute; common themes include loss of a sense of tradition and dominance of technology | Modernism |
| 18th-19th Cent; Emphasized imaginiation, fancy, and freedom, emotion, wildness, beauty of the natural world, the right of the individual, the nobility of the common man, and the attractiveness of the pastoral life; List example authors (4) | Romanticism; William Wordsworth; Lord Byron; Percy Bysshe Shelley, Victor Hugo |
| Type of traditional literature; Stories - usually exaggerated - about real people, places, and things | Legend |
| A humerous folktale with a character who the listener can outsmart | Noodlehead story |
| Type of traditional literature; Told in the language of the people, does not necessarily have a moral, main purpose is entertainment; may be coarse, dictation is often of the particular group that originated the tales; Provide example | Folktale; Richard Chase - Appalachian FT |
| French fairy tale author (1600s) | Charles Perrault |
| German fairy tale authors (1800s) | Grimm Brothers |
| British fairy tale author (1800s) | Joseph Jacobs |
| Scandinavian fairy tale authors (1800s) | Peter Asbjornsen and Jorgen Moe |
| Russian fairy tale author (1800s) | Aleksandr Nikolaevich Afanas'ev |
| Type of traditional literature whose key characteristic is an element of magic; usually follow a certain pattern and present an "ideal"; magic 3; good always wins over evil | Fairy tale |
| Type of traditional literature; Nonrealistic story with a moral; type with animals who behave like humans; Example author | Fable; Beast tale; Aesop (Greek slave) |
| Type of traditional literature; Story that is realistic and has a moral; unlike a fable, can be but is not necessary true; considered didactic because it teaches a lesson | Parable |
| Poetry meter in which each line contains 5 measures of one unstressed and one stressed syllable | Iambic pentameter |
| Story poem written in dignified language and celebrates the achievements of a hero; repetition is a key feature; couplet form, meter regular with equal line lengths; List 3 examples | Epic; Paradise Lost by John Milton (Adam/Eve, The Fall), The Iliad by Homer (Trojan War), The Odyssey by Homer (adventures/trials of Odysseus or Ulysses) |
| Literary element related to POV; Employs the word "you"; can be problamatic for reader if "you" is not explained or identified | Second-person POV |
| Literary element related to POV; Unfolds through the eyes of one central character; account may be biased; narrator speaks of him/herself using first person pronouns - I, me, my | First-person singular POV |
| Literary element related to POV; A narrator who does not share all the information about all the characters or all the events with the readers | Limited omniscient POV |
| Type of irony where there is a contrast between what a character beleives or says and what the reader understands to be true | Dramaic Irony |
| Literary element related to tone; Embodies a teaching tone; writer addresses readers as if they must learn something; can reach the point of condescension | Didacticism (didactic) |
| Allows the read to see the world through the eyes of another; Provide an example | Menippean Satire; Charlie and the Chocolate Factory by Roald Dahl |
| 20th Cent.; Features elements of surprise, unexpected juxapositions, and nonsequitur; aimed to free people from false rationality and restrictive customs and structures; aligned with communism and anarchism; Provide leader of movement | Surrealism; Andre Breton |
| Charles Baudelaire (French), Arthur Rimbaud (French), William Butler Yeats, James Joyce, and T.S. Eliot are all associated with which literary movement? | Symbolism |
| 19th Cent. reaction to romanticism; aimed to evoke, indirectly/symbolically, an order of being beyond the 5 senses; poetic expression of personal emotion; principal aim to express highly complex feelings that grew out of everyday contact with the world | Symbolism |
| Type of traditional literature; another name of myths | Pourquoi Tale |
| Renaissance/Reformation (ca. 1485-1660); War of Roses - Henry VII (Tutor) claims throne; Martin Luther - emergence of Protestantism; Henry VIII's Anglican schism - 1st Protestant Church in England; Edmund Spenser (poet) | Early Tutor Period (1485-1558) |
| Tumultuous period; Geoffrey Chaucer, the "Gawain" or "Pearl" Poet, Wakefield Master, William Langland (England); Boccaccio, Petrarch, Dante, Christian de Pisan (Italy/France) | Late or "High" Medieval Period (ca. 1200-1485) |
| William I conqueres England (Norman Conquest); 20th cent. Renaissance (ca. 1100-1200); French chivalric romances by Chretien de Troyes; French fables by Marie de France and Jean de Meun; Peter Abelard (humanist) | Middle English Period (ca. 1066-1450) |
| Occured during the Medieval period (455-1485); Emerges in Europe; central Europe - early medieval grammers and encycopedias; northern Europe - marks the setting of Viking Sagas | Carolingian Renaissance (800-850) |
| Medieval period (455-1485); Dark Ages (455-799) - barbarian tribes move into Europe; Epic poems - Beowulf, The Wanderer, The Seafarer | Old English (Anglo-Saxon) Period (428-1066) |
| Classical period (1200 BCE-455 CE); Early Christian writings of Saint Augustine, Tertullian, Sain Cyprian, Saint Ambrose, and Saint Jerome; Saint Jerome first compiles the Bible; Christianity spreads, Roman empire falls, barbarians attack Rome | Patristic Period (ca. 70-455) |
| Classical period (1200 BCE-455 CE); Rome conquers Greece in 146 CE; Roman Republic - Plautus and Terence; Roman Imperial period - Ovid, Horace, and Virgil (writers); Marcus Aurelius and Lucretius (philosophers); Cicero and Quintilian (rhetoricians) | Classical Roman Period (200 BCE-455 CE) |
| Classical period (1200 BCE-455 CE); Gorgias, Aesop, Plato, Socrates, Aristotle, Euripides, and Sophocles; 5th cent. - Golden Age of Greece; age of polis and early democracy; Athens | Classical Greek Period (800-200 BCE) |
| Classical period (1200 BCE-455 CE); Greek legends passed along orally; Homer - Iliad/Odyssey; chaotic period of warrior princes, wandering sea traders, and fierce pirates | Homeric or Heroic Period (1200-800 BCE) |
| Basic measuring unit in a line of poetry | Foot |
| One foot | Monometer |
| Two feet | Dimeter |
| Three feet | Trimeter |
| Four feet | Tetrameter |
| Seven feet | Heptameter |
| Eight Feet | Octameter |
| Foot with an unstressed-stressed syllabic pair | Iambic foot |
| Foot with 3 syllables in which the first 2 are short or unstressed and the final one is long or stressed | Anapest |
| Foot with 2 syllables - first syllable long and stressed, second syllable short and unstressed | Trochee |
| Foot with 3 syllables - first long/stressed, next two are unstressed or short | Dactyl |
| Closed form of poetry that is unrhymed and written in iambic pentameter; Provide 2 examples | Blank verse; plays by Shakespeare and Paradise Lost by John Milton |
| Verse without rhyme or rhythem; aka free verse | Unrhymed verse |
| Type of rhyme that uses 1 syllable words to give a feeling of strength or impact; some poets stress the final syllable of polysyllabic words | Maculine rhyme |
| Type of rhyme that may use a rhyme of two or more syllables; general effect is to give the reader a feeling of softness and lightness | Feminine rhyme |
| Type of rhyme used to surprise the reader or give the reader a let-down or express disappointment; a.k.a. half rhyme, off rhyme, near rhyme or approximate rhyme | Slant Rhyme |
| Type of poem with 5 lines; rhyme scheme is aabba; associated with Edward Lear | Limerick |
| Short poem with a clever twist at the end; Provide two example authors | Epigram; Samuel Taylor Coleridge and Benjamin Franklin |
| French form of poetry consisting of 6 stanzas of 6 lines; Provide 3 examples | Sestina; A Portrait of the Artist as a Young Man by James Joyce, Sestina by Elizabeth Bishop, and Hearing of Harvests Rotting in the Valleys by W.H. Auden |
| Courtly love poem from Medieval time; Provide example | Villanelle; Do Not Go Gentle into that Good Night by Dylan Thomas |
| 5 tercets (3 lines, aba), a quatrain (4 lines, abaa) ends the poem. Repetition of the poem's 1st line as last line of the 2nd/4th tercets, 3rd line appears as the last line of the 3rd and 5th tercet, appear again as rhyming lines at the end of the poem | Villanelle |
| Type of poem that moves from the story of the ballad to emotion; associated with Samuel Taylor Coleridge and William Wordsworth | Lyric |
| Type of lyric poem which is a lament for someone or for something; Provide an example | Elegy; "Elegy Written in a Country Churchyard" by Thomas Gray |
| Type of lyric poem which is usually longer than an elegy and explores topics other than merely death; Provide an example | Ode; "Ode on a Grecian Urn" by John Keats |
| Appeared as early as the 14th and 15th cent; stories in song that developed from the oral tradition; simple in theme, author anonymous; often center on love/hate, lust/murder, knights and supernatural; feature repetition | Ballad |
| 4 lines (ab cb), lines 1&3 8 syllables, lines 2&4 6 syllables | Ballad |
| Type of ballad that is the composition of later poets rather than the result of the oral tradition; Provide example | Literary Ballad; "The Rime of the Ancient Mariner" by Samuel Taylor Coleridge |
| Closed-form poem consisting of a two line stanza, usually with an end rhyme | Couplet |
| Type of couplet that is end-stopped, written in iambic pentameter; Who invented it? | Heroic couplet; Geoffrey Chaucer |
| Renaissance/Reformation period (ca. 1485-1660); Queen Elizabeth I saves England from Spanish invasion and internal squabbles; early works of Shakespeare, Christopher Marlowe, Thomas Kyd, and Sir Philip Sidney | Elizabethan Period (1558-1603) |
| Later works of Shakespeare, Aemilia Lanyer, Ben Jonson, and John Donne | Jacobean Period (1603-1625) |
| Reign of Charles I and his Cavaliers; John Milton, George Herbert, Robert Herrick, "Sons of Ben" | Caroline Age (1625-1649) |
| Under Oliver Cromwell's Puritan dictatorship; John Milton continues to write, Andrew Marvell, and Sir Thomas Browne | Commonwealth Period or Puritan Interregnum (1649-1660) |
| Increased influence of classical lit. (neoclassical), increased reverence for logic & disdain for superstition (enlightment); rise of deism (belief in God based only on reason and nature), intellectual backlash against Puritanism, America's revolution | The Englightenment (Neoclassical) Period (ca. 1600-1790) |
| King's restoration to throne after long period of Puritan domination (Eng); dominance French/classical influences on poetry/drama; England - John Dryden, John Locke, Sir William Temple, Samuel Pepys, Aphra Behn; France - Jean Racine, Jean-Baptiste Moliere | Restoration Period (ca. 1660-1700) |
| Imitation of Virgil and Horace's literature in English letters; Joseph Addison, Sir Richard Steele, Jonathan Swift, Alexander Pope (England); Francois-Marie Arouet Voltaire (France) | Augustan Age (ca. 1700-1750 |
| Transition towards upcoming romanticism, still largely neoclassical; Dr. Samuel Johnson, James Boswell, Edward Gibbon (neoclassical tendencies); Robert Burns, Thomas Gray, William Cowper, George Crabbe (movement away from nc); Franklin, Jefferson, Paine | Age of Johnson (ca. 1750-1790) |
| Wrote about nature, imagination, individuality; Samuel Taylor Coleridge, William Blake, John Keats, Percy Bysshe Shelley (England); Jane Austen; America (transcendental period) 1830-1850 - Ralph Waldo Emerson, Henry David Thoreau | Romantic Period (ca. 1790-1830) |
| Overlaps romantic/victorian periods; precursor to horror novels; Ann Radcliffe, Monk Lewis, Bram Stoker (England); Edgar Allan Poe, Nathaniel Hawthorne (Scarlet Letter) | Gothic (ca. 1790-1890) |
| Sentimental novels (Q. Victoria's reign); Elizabeth Browning, Alfred Lord Tennyson, Matthew Arnold, Robert Browning, Charles Dickens, Emily/Charlotte Bronte (England) | Victorian Period & Nineteenth Century (ca. 1832-1901) |
| Victorian period/19th cent.; Idealized/longed for the morality of the medieval period; Christina and Dante Rossetti, William Morris | Pre-Raphaelites |
| End of Victorian period; intellectual movement of aestheticism (emphasis on aesthetic values, creation, and appreciation of beauty) and decadence; Walter Pater, Oscar Wilde | Victorian Period & Nineteenth Century (ca. 1832-1901) |
| End of Victorian Period in America - naturalist (realism); Stephen Crane (writer), Walt Whitman and Emily Dickinson (poets) | Victorian Period & Nineteenth Century (ca. 1832-1901) |
| W.B. Yeats, Seamus Heaney, Dylan Thomas, W.H. Auden, Virginia Woolf, Wilfred Owen (England) | Modern Period (ca. 1914-1945) |
| Robert Frost, Flannery O'Connor - American poets; Realism is dominant fashion | Modern Period (ca. 1914-1945) |
| Ernest Hemingway, Gertrude Stein, F. Scott Fitzgerald, William Faulkner | Writers of the Lost Generation/Jazz Age (1914-1929, America; Modern Period |
| James Baldwin & Ralph Waldo Ellison | Harlem Renaissance, Modern Period (ca. 1914-1945) |
| Experiment w/ metafiction & fragmented poetry; T.S. Eliot, George Bernard Shaw, Samuel Beckett, Sir Tom Stoppard, John Fowles, Italo Calvino, Allen Ginsberg, Thomas Pynchon | Postmodern Period (ca. 1945 onward) |
| Deals, often playfully & self-referentially, with writing of fiction or its conventions | Metafiction |
| Multi-culturalism leads to canonization of non-Caucasian writers - Langston Hughes, Toni Morrison, Sandra Cisneros, Zora Neale Hurston | Postmodern Period (ca. 1945 onward) |
| Magic realists (surrealistic writers embroidered in conventions of realism); Gabriel Garcia Marquer, Luis Borges, Alejo Carpentier, Gunter Grass, Salman Rushdie | Postmodern Period (ca. 1945 onward) |
| Japanese verse form with 3 lines with 5, 7, and 5 syllables | Haiku |
| Focuses on reader/reading process, not author/text; reader responds to text personally, meaning derived from reader's psyche; rejection of the idea that there is a fixed meaning in a work; associated with Louise Rosenblatt - opposed reading w/ detachment | Reader-Response Critical Approach |
| Opposes reading with detachment; employs reading circles, journal writing, and peer writing exercises | Reader-Response Critical Approach |
| Involves a leader and a group; use text, one's own experiences, & reasoning to interpret; leader doesn't present info or express opinions, guides members in reaching own interpretations; members listen/give consideration to opinions of others | Shared Inquiry Approach |
| Associated with Great Books Program | Shared Inquiry Approach |
| Defines, classifies, analyzes, interprets and evaluates works of literature | Literary Criticism |
| Uses history to understand a literary work; looks at the social/intellectual currents in which the author wrote | Historical Criticism |
| Uses 2 main processes: 1) the selection, after thorough examination of all possible material, of only the most trustworthy evidence on which to base a text, 2) effort to eliminate all the errors found in even the best manuscripts | Textual Criticism; 1) Recension, 2) Emendation |
| Seeks to correct/supplement a predominantly male-dominated critical perspective with a female consciousness; attempts to understand literature from a woman's POV | Feminist Criticism |
| Uses knowledge of the author's life experiences to gain better understanding of the writer's work | Biographical Criticism |
| Focuses on the historical, social, and economic contexts of a work | Cultural Criticism |
| Pays attention to formal elements such as language, structure, and tone; analyzes form/meaning; pays attention to diction, irony, paradox, metaphor, and symbols; examines plot, characterization, and narrative technique | Formal Criticism |
| Reading strategy - Anne Goudvis & Stephanie Harvey (2000); Comprehension better when they think about the connections they make between the text, their lives, and the larger world | Activating Prior Knowledge |
| Reading strategy - Anne Goudvis & Stephanie Harvey (2000); keeps readers engaged; helps to clarify understanding and make meaning | Predicting or asking questions |
| Reading strategy - Anne Goudvis & Stephanie Harvey (2000); create visual images based on the words that they read; enhances understanding | Visualizing |
| Reading strategy - Anne Goudvis & Stephanie Harvey (2000); readers take what they know, garner clues from the text, and think ahead to make a judgement, discern a theme, or speculate about what is to come | Drawing inferences |
| Reading strategy - Anne Goudvis & Stephanie Harvey (2000); determine essential ideas and important information; differentiate b/w less important info and key ideas central to meaning of text | Determining important ideas |
| Reading strategy - Anne Goudvis & Stephanie Harvey (2000); combining new information w/ existing knowledge to form an original idea or interpretation; reviewing, sorting, and shifting important info can lead to new insights | Synthesizing information |
| Reading strategy - Anne Goudvis & Stephanie Harvey (2000); practice of stopping and clarifying understanding if confusion occurs | Repairing understanding |
| Confirm original predictions as they read or after reading; no wrong answer, can confirm negatively or positively; determining whether a prediction is correct is a goal | Confirming |
| Reading strategy - Anne Goudvis & Stephanie Harvey (2000); using parts of a book - charts, diagrams, indexes, table of contents - to improve understanding of the reading content | Using parts of a book |
| Reading strategy - Anne Goudvis & Stephanie Harvey (2000); students think about what they read; can be simply thinking or more formal, like discussion or writing a journal | Reflecting |
| Increase comprehension; emphasis on "sounding out" words (phoneme-grapheme relationships) & on individual words (morphemes) rather than on syntax and semantics; focus not just on individual parts of words, but whole words, phrases, grammar, and sentences | Cueing systems |
| Cueing system questions (3) | Does it make sense? (meaning); Does it sound right in the passage/sentence? (grammar); Does it look right? (phoneme-grapheme relationships) |
| Type of cueing system; same as context; guess at unfamiliar words by considering the rest of the passage (word meanings) | Semantics |
| Type of cueing system; how words are placed in a meaningful sentence (rules of grammar) | Syntax |
| Type of cueing system; connect text to their lives; occurs before, during and after reading; aka prior knowledge schema, relevant background knowledge, experience | Activating prior knowledge |
| Critical thinking; use of reading strategies before, during and after reading; good readers vs. poor readers | Metacognition |
| Process of assessing the strategies that students use in their reading; look for patterns in mistakes to provide help | Miscue analysis |
| Associated with miscue analysis; determined that departures from written text can provide picture of underlying cognitive processes | Kenneth Goodman (1965) |
| Miscues include... | substitutions of words, additions/omissions of words, alterations to word sequences |
| Understanding what is read; identifying supporting details/facts, main idea/essential message, author's purpose, fact/opinion, POV, inference, the conclusion, and other info | Comprehension |
| Lowest level of understanding; involves reading the lines; give back facts or details directly from the passage, paraphrase | Literal Comprehension |
| Second level of comprehension; students must infer or figure out the answers; answers are not spelled out in print | Interpretive of Inferential Comprehension |
| Ways to show interpretative or inferential comprehension... | Identify figurative language, identify terms, make inferences, draw conclusions, generalize, speculate, anticipate/predict, summarize; determine author's purpose, main idea, POV of author, the conclusion/essential message |
| One of the highest levels of understanding; requires one to read and think beyond the printed lines | Critical comprehension |
| Ways to show critical comprehension... | Indicating whether text is true/false, distinguishing b/w fact/opinion, detecting propaganda, judging whether the author is qualified to write the text, recognize bias/fallacies, identify stereotypes, make assumptions |
| Readers respond, often emotionally, to something they are reading | Creative comprehension |
| Ways to demonstrate creative comprehension... | State another way of treating a situation, indicate another way to solve a problem, speculate whether the plot could have occurred a different time/place |
| Comprehension tool; helps students think about a passage and its structure, chart concept or section of text | Story mapping |
| Comprehension tool; compare/contrast based on specific criteria or critical attributes | Venn Diagram |
| Comprehension tool; helps illustrate cause/effect | Fishbone organizer |
| Method of assessing reading process; can be used to determine presence or absence of a characteristic or degree | Daily observation/Checklist |
| Method of assessing reading process; documents a child's reading he/she reads out loud; evaluates reading level, identifies miscues; specific marks are used to indicate kinds of errors; requires some training | Running record |
| Method of assessing reading process; student reads aloud, teacher uses symbols to note miscues; student reads graded passage, responds to comprehension Q's designed to detect ability to grasp main idea, use inference, remember details, understand vocab | Informal Reading Inventory |
| Noam Chomsky (1964) - Aspects of the Theory of Syntax Language Acquisition Device (LAD); Define universal grammar (UG) | Lanuage acquisition is innate not acquired; UG is the basis upon which all human languages are built |
| Poverty of the Stimulus Argument (Noam Chomsky, 1964; LAD) | Although children are exposed to very little correctly formed language, they still manage to learn it; children do not simply copy the language they hear around them, they deduce rules from it |
| Noam Chomsky (1964) Language acquisition theory | Language is a specific skill, acquisition governmed by an inborn program; requires no direct intervention from parents/teachers |
| According to Noam Chomsky (1964), this is subconscious, emphasis on communication and recpetion, results in fluency | Language acquisition |
| According to Noam Chomsky (1964), this is conscious, increased emphasis on syntax and grammar, fluency not guaranteed | Language learning |
| According to Noam Chomsky (1964), what are the six universal stages governing language acquisition and development? | 1) Prelinguistic - silent period w/ only crying, later cooing/babbling; 2) Holophrastic - 1 word communication; 3) two words; 4) telegraphic - 28 mths, may omit some syllables, substitute sounds, use pivot word w/ other words; 5) intermediate; 6) adult |
| What are the 5 elements of an effective writing assignment? | 1) tie to specific pedagogical goals; 2) note rhetorical aspects of the task - audience, purpose, writing situation; 3) make all elements of the task clear; 4) include grading criteria on the assignment sheet; 5) break down the task into managable parts |
| Method of argument for persuasive writing; compares one thing to another | Analogy |
| Method of argument for persuasive writing; defining one think in terms of something very different; developed for several lines or throughout the essay | Extended metaphor |
| What are the two parts of an extended metaphor? What is the key to understanding the significance or relevance of the metaphor? | 1) tenor - thing being defined; 2) the thing doing the defining; uncover the similarities b/w the tenor and the vehicle |
| Method of argument for persuasive writing; reference to a historical, literary, or otherwise generally familiar character/event that helps make a point understandable | Allusion |
| What are the two argumentative strategies for persuasive writing? | 1) writer makes no referene to opposing views, just imparts the info the audience should know, 2) counterargument follows the organizational plan of the opposition and rebuts the points |
| In an argumentative paper, it is important to... | 1) establish facts to support argument, 2) clarify writer's perspective for audience, 3) prioritize arguments from least to most important or vise versa, 4) formulate/state conclusions, 5) persuade audience if possible |
| Purpose of one's writing or speaking is referred to as...what are the 3 types? | Discourse aims; creative writing, expository, persuasive |
| Type of discourse aimed at expressing writer's thoughts and feelings in an imaginative, often unique and poetic way | Creative writing |
| Type of discourse aim typical of most textbooks; primary purpose is to explain and clarify | Expository |
| Type of discourse aim whose purpose is to influence or to persuade the reader in some way | Persuasive |
| Type of organization in writing; Fiction, paragraph form, describes the time/setting, encourages readers to feel a connection to info | Descriptive writing |
| Type of organization in writing; content area texts, present info quickly/concisely (numbers, bullets, letters, first, second) | Ordered list |
| Type of organization in writing; fiction/nonfiction; alphabetical order, first, next, before, after, last) | Sequence organization |
| Type of organization in writing; present causes, then effects or vise versa (because, resulting in, why, as a result, therefore, if...then) | Cause-and-effect writing |
| Type of organization in writing; explains similarities or differences | Comparison/contrast writing |
| Type of organization in writing; put in order in which they happened (first, next, last) | Chronological order |
| Type of organization in writing; state the problem and then either offer several solutions or present the best answer | Problem-and-solution writing |
| Type of cueing system that involves the understanding that people use language differently in different contexts | Pragmatic (practical) cueing system |
| Involves making generalizations based on particular facts or examples | Inductive reasoning |
| Who wrote Common Sense? Why? | Thomas Paine; Wrote about abuses of the British parliamentary system of government, particularly in its treatment of the American colonies |
| A monologue in which actors speak their thoughts and feelings aloud | Soliloquy |
| Greek term meaning "to experience suffering or emotion" | Pathos |
| Greek term meaning "to count, to say, to speak, to tell"; a rhetorical argument based on logic | Logos |
| Greek term; one of the three modes of persuasion that Aristotle discussed in "Rhetoric"; one appeals to authority to strengthen an argument | Ethos |
| Greek term; suggests settings, characters, and themes that appear and reappear in literature (ie the flood) | Topos |
| Consists of a major premise, a minor premise, and a conclusion | Syllogism |
| According to Aristotelian logic, the use of narrative is... | An effective form of argument that "should not be considered innocent moments of entertainment in political communication" |
| T.S. Eliot's "The Waste Land" is a poetic example of... | Modernism |
| An extended fictional narrative, written in the form of letters, diaries, and journal entries | Epistolary novel |
| An extended metaphor or an address to an absent person or to an abstract or nonhuman entity; used by John Donne and John Keats | Apostrophe |
| A consonant sound made by passing a continuous stream of air through a narrow passage in the vocal tract, such as f or v | Fricative |
| The belief that human beings exist entirely in the order of nature and do not have a soul or any participation in a religious or spiritual world beyond nature | Literary naturalism |
| A vowel sound whose production requires the tongue to start in one place and move, or glide, to another; contains two vowels | Diphthong |
| Refers to a verb and its related words in a clause | Predicate |
| A language, now extinct, used during the Middle Ages by traders who did not share a common language to communicate among themselves while in Mediterranean ports | Lingua Franca |
| Poetic phrases comprised of figurative language used as descriptive phrases in place of the ordinary name of something (ex. whale-road for ocean) | Kenning |
| Type of poem that uses a visual shape to present their content | Concrete or pattern poem |
| A group of 18th cent. poets who wrote, often in a cemetery, meditative poems that usually had a cemetery and that contemplated the happenstances of life and death; Thomas Gray, Edward Young, Thomas Parnell | The Graveyard Poets |
| Poets who attempted to return to the ideals of truthfulness, simplicity, and art prior to the Italian Renaissance | Pre-Raphaelites |
| What are three types of late medieval dramas? | Miracle play, morality play, and interludes |
| A feature of the Middle English Period; a change affecting the vowels of English during the years of 1350 to 1550 | The Great Vowel Shift |
| Effective praise should be... | Authentic and low key |
| Study of lit and of disciplines relevant to lit. or to lang. as used in lit., especially historical and comparative linguistics including the study of human speech especially as the vehicle of lit. and as a field of study that sheds light on cultural hist | Philology |
| Occurs when a line of poetry "runs on" to the next line, causing a slight pause in midsentence or thought | Enjambment |
| One who seeks forgiveness in a religious sense | Supplicant |
| Who wrote The House of the Seven Gables (1851)? | Nathaniel Hawthrone |
| Who wrote A Wonder-Book (1852)? | Nathaniel Hawthrone |
| Who wrote The Last of the Mohicans (1826)? | James Fenimore Cooper |
| Who wrote The Deerslayer (1841)? | James Fenimore Cooper |
| What American poet also wrote biographies of Abraham Lincoln? | Carl Sandburg |
| Two works that the writers meant for adults of the 1700s but that young people promptly adopted were... | Robinson Crusoe (Defoe) and Gulliver Travels (Swift) |
| The study of meaning as conveyed through language | Semantics |
| Use of words that allow alternative interpretations | Ambiguity |
| The substitution of less-offensive words for words considered explicitly offensive (passed away vs. died) | Euphemism |
| Misuse of language, often in a deliberate and even calculating way in order to mislead (physical persuasion vs. torture) | Doublespeak |
| The impression or feeling a words gives beyond its exact meaning | Connotation |
| The exact meaning of a word | Denotation |
| Vocabulary of a particular profession; any speech or writing one doesn't understand | Jargon |
| Contains a subject and a verb | Clause |
| A complete thought | Independent clause |
| Not a complete thought | Dependent clause |
| Group of words without a subject and predicate | Phrase |
| May describe or limit the meaning of a word or group of words | Modifiers |
| Word inserted or interjected to show emotion (ex. Ouch! That sting hurt.) | Interjection |
| Word that may connect words, phrases and clauses | Conjunction |
| Join words, phrases, or clauses of equal rank (and, but, nor) | Coordinating conjunction |
| Join subordinate clauses with main clauses (although, after, because, if) | Subordinating conjunction |
| Relates a noun or pronoun to another word in the sentence | Preposition |
| Word that limits or describes a verb, an adjective, or another adverb | Adverb |
| Modifies or limits a noun or pronoun | Adjective |
| Type of adjective; names a quality of an object (ex. blue notebook) | Descriptive |
| Type of adjective; restricts the meaning or indicates quantity or number | Limiting |
| Type of adjective (ex. her jacket, their house) | Possessive |
| Type of adjective (ex. this automobile) | Demonstrative |
| Type of adjective (ex. which cat belongs to you?) | Interrogative |
| Type of adjective; A, an, the | Articles |
| Type of adjective (ex. one ticket) | Numerical |
| Type of adjective; indicates degree; two types: (ex. bigger, rounder, hotter), (ex. biggest, roundest, hottest) | Comparative; superlative |
| Word or phrase that shows action or state of being | Verb |
| State of being verbs include... | is, are, am, was, were |
| Type of verb; requires a direct object | Transitive verb |
| Type of verb; do not require an object | Intransitive verb |
| Type of pronoun; I, you, he, she, it, we, you, they, them, us, my, mine, me, your, yours, her, hers, its, our, us | Personal |
| Type of pronoun; who, which, that, whose, whom | Relative |
| Type of pronoun; what, who, when, where, how | Interrogative |
| Type of pronoun; this, that, these, those | Demonstrative |
| Type of pronoun; one, any, each, anyone, somebody, all, etc | Indefinite |
| Type of pronoun; each other, one another | Reciprocal |
| Type of pronoun; myself, yourself, himself, herself | Intensive or reflexive |
| Type of sentence with a subject and verb | Simple sentence |
| Type of sentence made up of 2 independent clauses (express complete thoughts) joined by a coordinating conjunction or correlative conjunction, or semicolon | Compound sentence |
| Type of sentence that has a dependent clause and an independent clause | Complex sentence |
| Type of sentence with at least 2 independent clauses and at least one dependent clause | Complex-compound sentence |
| Type of sentence that makes a statement | Declarative sentence |
| Type of sentence that asks a question | Interrogative sentence |
| Type of sentence that gives a command or makes a request | Imperative sentence |
| Johanna Rubba (2004) Creation of new words processes; adding prefix/suffix | Affixation |
| Johanna Rubba (2004) Creation of new words processes; joining two or more words (skateboard) | Compounding |
| Johanna Rubba (2004) Creation of new words processes; using a word of one category in another without change (ex. comb - n, comb - v) | Conversion |
| Johanna Rubba (2004) Creation of new words processes; changing the stress from one syllable to another changing the meaning/pronunciation | Stress shift |
| Johanna Rubba (2004) Creation of new words processes; shortening words (ex. math) | Clipping |
| Johanna Rubba (2004) Creation of new words processes; forming words from initials (ex. AIDS) | Acronym formation |
| Johanna Rubba (2004) Creation of new words processes; combining two words (ex. smoke + fog = smog) | Blending |
| Johanna Rubba (2004) Creation of new words processes; identifiable suffix cut off from base (ex. burger from hamburger) | Backformation |
| Johanna Rubba (2004) Creation of new words processes; Google (noun/verb) | Using brand names as common words |
| Johanna Rubba (2004) Creation of new words processes; word imitates sound (ex. pop) | Onomatopoeia |
| Johanna Rubba (2004) Creation of new words processes; take a word from another language | Borrowing |
| Signal function, role, or case that the word performs | Inflections with pronouns |
| Ending on a word to signal the use of the word | Inflectional ending |
| Result of the desire of the people in America to assert their complete political independence from England; analytic language - depends on word order and function words for meaning | American English |
| Written abstract symbols that represent ideas, not just concrete objections and actions | Ideographic writing |
| Writing that represented sounds | Phonetic writing |
| Study of the history of words, when they entered a language and its development since its earliest recorded occurrance | Etymology |
| What date is considered the birth of the English language? | 449 CE |
| Level of written language; souvenirs or concrete reminders | Concrete level |
| Level of written language; began using pictographs (drawings); 1st stage in writing around 30,000 BCE; enabled recorder to chronicle events and tell stories | Semiconcrete level |
| Level of written language; notches or symbols could represent many different things; 20,000-6500 BCE | Semiabstract level |
| Level of written language; syllabic alphabet, Cuneiform, linear script (Phaistos disk - Crete) | Abstract level |
| Uses very few bound morphemes - prefixes and suffixes - and inflections or grammatical endings on nouns | Analytic language |
| Uses large numbers of bound morphemes and often combine strings of them to form a single word | Synthetic language |
| Study the change and evolution of languages, how languages may develop from an original language, and how cultural contact between those who speak different languages may affect language development and evolution | Historical linguistics |
| Study of how language determines and reflects worldviews of people | Ethno linguistics |
| A subdivision of language; related to regional differences and/or social class; 1st step to forming is communicative isolation; may differ in sound, in vocab, and grammar; studied by linguistic anthropologists | Dialect |
| Rules for social language; List the 3 rules | Pragmatics; 1) use language appropriately for different social situations, 2) change language according to listener's needs, 3) following rules for conversing with others |
| Krashen's Second Language Acquisition Theory; describes external factors that can act as a filter that impedes acquisition; include motivation, self-confidence, and anxiety | The Affective Filter Hypothesis |
| Krashen's Second Language Acquisition Theory; seeks to explain how 2nd languages are acquired; argues that learners progress along the natural order only when they encounter 2nd lang. input that is one step beyond where they are in the natural order | The Input Hypothesis |
| Krashen's Second Language Acquisition Theory; argues that there is a natural order to the way 2nd language learners acquire their target language | The Natural Order Hypothesis |
| What are the steps in the Natural Order Hypothesis? | 1) produce single words; 2) string words together based on meaning, not syntax; 3) Begin to identify elements that begin and end sentences; 4) Begin to identify different elements w/i sentences, can rearrange them to produce questions |
| Krashen's Second Language Acquisition Theory; illustrates how the acquired system is affected by the learned system; apply understanding of learned grammar to edit,plan, initiate communication; only occurs when speakers have ample time to think about form | The Monitor Hypothesis |
| Krashen's Second Language Acquisition Theory; 2 systems of language acquisition that are independent but related | Acquisition-Learning Hypothesis |
| Krashen's Second Language Acquisition Theory; relates to unconscious aspects of lang. acquisition; learn 1st lang. by speaking lang. naturally in daily interactions w/ others who speak their lang, less concerned with structure than w/ act of communicating | Acquired system |
| Krashen's Second Language Acquisition Theory; formal instruction in which students engage in formal study to acquire knowledge about target lang.; study rules of syntax | Learned system |
| What does the National Institute for Literacy and Language Acquisition assert? | A child must be able to form and hold mental pictures if he/she is to acquire lang. fundamentals; must have the ability to use tools to express those symbols |
| Communication through speaking, writing, and/or gestures; selecting words, formulating them into ideas and producing them through speaking, writing, and gesturing; involves word retrieval, syntax, word/sentence structure, semantics | Expressive language |
| Language that is received, processes into memory, integrated w/ knowledge already integrated, and made part of the knowledge of the individual from which new ideas and concepts can be generated; part of the creative process | Cognitive language |
| Language that is spoken or written by others and received by an individual listening/reading | Receptive language |
| What does an individual need for receptive language? | ability to attend to, process, comprehend, retain, and/or integrate spoken/written lang; phonemic awareness; good visual processing to interpret visual symbols; functional visual memory and good visual-motor activity (writing) |
| What is John Macnamara's (1972) theory relating to language acquisition? | Holds that children, rather than having an in-build language device (LAD), have an innate capacity to read meaning into social situations; it is this capacity that makes them capable of understanding language and learn it w/ ease, rather than an LAD |
| Explain Jerome Bruner's (1983) Language Acquisition Support System (LASS) | Argues that while there may be a LAD, there must also be a LASS; ability to communicate is essential; social conditions are more important; lang. learning is dependent upon capacity to understand/participate in social activities |
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