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Rhet Devices
Rhetorical Devices for English
| Question | Answer |
|---|---|
| abstract language | Language describing ideas and qualities rather than observable or specific things, people, or places. The observable or "physical" is usually described in concrete language. |
| ad hominem argument/attack | A personal attack on the character or other traits of one's opponent rather than an argument against his/her ideas. |
| ad populum | “to the people |
| alliteration | The repetition of initial consonant sounds in two or more neighboring words (as in "She sells sea shells. . . "). |
| allusion | A direct or indirect reference to something which is presumably commonly known, such as an event, book, myth, place, or work of art. |
| ambiguity | The multiple meanings, either intentional or unintentional, of a word, phrase, sentence, or passage. Ambiguity implies that either meaning could be correct. |
| Anadiplosis | a devise that takes the last word or phrase of a sentence and repeats it near the beginning of the next sentence or phrase. Words used this way end up near one another, so their repetition becomes very apparent to drive the force home. |
| analogy | A similarity or comparison between two different things or the relationship between them. Two things in which the complex is explained in terms of the simple, or something unfamiliar is associated with something more familiar. |
| anaphora | The repetition of words at the beginning of successive clauses |
| anecdote | A brief recounting of a relevant episode, frequently personal or biographical. Anecdotes are often inserted into fiction or nonfiction as a way of developing a point or injecting humor. |
| antecedent | The noun to which a later pronoun refers |
| anticlimax | A sudden drop from the dignified or important in thought or expression to the commonplace or trivial, often for humorous effect. |
| antecedent | The word, phrase, or clause referred to by a pronoun. The AP exam occasionally asks for the antecedent of a given pronoun in a long, complex sentence or in a group of sentences. |
| antimetabole | The repetition of words in an inverted order to sharpen a contrast. |
| antithesis | A balancing of two opposite or contrasting words, phrases, or clauses. |
| aphorism | A terse statement of known authorship which expresses a general truth or a moral principle. (If the authorship is unknown, the statement is generally considered to be a folk proverb.) |
| apostrophe | A FOS that directly addresses an absent or imaginary person, a personified abstraction, or sometimes an inanimate object. For example, Walt Whitman addresses the assassinated Abraham Lincoln as "O Captain! my Captain!" |
| appeal to tradition | a proposal that something should continue because it has traditionally existed or been done that way |
| Argument | a process of reasoning and advancing proof about issues on which conflicting views may be held; also, a statement or statements providing support for a claim |
| Audience | those who will hear an argument; more generally, those to whom a communication is addressed |
| Authoritative warrant | a warrant based on the credibility or trustworthiness of the source |
| Authority | a respectable, reliable source of evidence |
| assonance | Repetition of a vowel sound within two or more words in close proximity. |
| asyndeton | Commas used (with no conjunction) to separate a series of words. The parts are emphasized equally when the conjunction is omitted; in addition, asyndeton speeds up the flow of the sentence. Asyndeton takes the form of X, Y, Z as opposed to X, Y, and Z. |
| atmosphere | The emotional mood created by the entirety of a literary work, established partly by the setting and partly by the author's choice of objects that are described. Frequently, atmosphere foreshadows events. |
| Backing | the assurances upon which a warrant or assumption is based |
| balanced sentence | Construction in which both halves of the sentence are about the same length and importance. |
| begging the question | Often called circular reasoning, begging the question occurs when the believability of the evidence depends on the believability of the claim. In other words, one assumes a statement to be true when it has not been proven to be so. |
| bias | Prejudice or predisposition toward one side of a topic or issue. |
| bombast | Inflated language; the use of high-sounding language for a trivial subject. |
| caricature | A grotesque likeness of striking characteristics in persons or things. |
| chronological order | arrangement by the order in which things occur; usually moves from past to present. In reverse chronological order, events are told from present to past. |
| cite | To identify a part of a piece of writing as being derived from (paraphrased, summarized) from a source. To fail to cite constitutes plagiarism. |
| Cause and effect | reasoning that assumes one event or condition can bring about another |
| Claim | the conclusion of an argument; what the arguer is trying to prove |
| Claim of fact | a claim that asserts something exists, has existed, or will exist, based on Data that the audience will accept as objectively verifiable |
| Claim of policy | a claim asserting that specific courses of action should be instituted as solutions to problems |
| Claim of value | a claim that asserts some things are more or less desirable than others |
| Cliché | a worn-out expression or idea, no longer capable of producing a visual image Provoking thought about a subject |
| Comparison warrant | a warrant based on shared characteristics and circumstances of two or more things or events; an analogy is a type of comparison, but the things or events being compared in an analogy are not of the same class |
| Concrete language | language that describes specific, generally observable, persons, Places, or things; in contrast to abstract language |
| Connotation | the overtones that adhere to a word through long usage |
| Credibility | the audience’s belief in the arguer’s trustworthiness; see also ethos |
| classification | arrangement of material into groups; e.g., media classified as print, video, or audio, with representative examples of each. |
| clause | A grammatical unit that contains both a subject and a verb. An independent, or main, clause expresses a complete thought and can stand alone as a sentence. A dependent clause cannot stand alone must be accompanied by an independent clause |
| colloquial/colloquialism | The use of slang or informalities in speech or writing. Colloquial expressions in writing include local or regional dialects and usage. Colloquialisms are to be avoided in formal writing |
| connotation | The non-literal, associative meaning of a word; the implied, suggested meaning. |
| consonance | Repetition of a consonant sound within two or more words in close proximity. |
| denotation | The strict, literal, dictionary definition of a word. |
| didactic | (from the Greek, "teaching") A term used to describe a work that teaches a specific lesson or moral or provides a model of moral or ethical behavior or thinking. |
| Deduction | reasoning by which we establish that a conclusion must be true because the statements on which it is based are true; see also syllogism |
| Definition | an explanation of the meaning of a term, concept, or experience; may be used for clarification, especially of a claim, or as a means of developing an argument |
| Definition by negation | defining a thing by saying what it is not |
| Ethos | the qualities of character, intelligence, and goodwill in an arguer that contribute to an audience’s acceptance of the claim |
| either/or fallacy | Reducing an argument or issue to two polar opposites and ignoring possible alternatives. |
| ellipsis | Grammar, the omission of a word or words necessary for complete construction but understood in context; "If [it is] possible, [you] come early." [. . . ] that something has been left out of a quotation; e.g., "To be or not . . .that is the question." |
| epigraph | A quotation or aphorism at the beginning of a literary work that is suggestive of the theme. |
| equivocation | The use of the same term in two different senses in an argument. |
| euphemism | (From the Greek, "good speech") A more agreeable or less unpleasant substitute for a generally unpleasant word or concept. |
| expository writing/prose | Writing that explains or analyzes. |
| extended metaphor | A metaphor developed at length, occurring frequently in or throughout a work. |
| false analogy | When two cases are not sufficiently parallel to lead readers to accept a claim of connnection between them. |
| Fact | something that is believed to have objective reality, a piece of information regarded as verifiable |
| Factual evidence | support consisting of data that is considered objectively verifiable by the audience |
| Fallacy | an error of reasoning based on faulty use of evidence or incorrect inference |
| False dilemma | simplifying a complex problem into an either/or dichotomy |
| Faulty emotional appeals | basing an argument on feelings, especially pity or fear—often to draw attention away from the real issues or conceal another purpose |
| Faulty use of authority | failing to acknowledge disagreement among experts or otherwise misrepresenting the trustworthiness of sources |
| flashback | Returning to an earlier time in a narrative for the purpose of making something in the present clearer. |
| figurative language | Writing or speech not intended to convey literal meaning, usually imaginative and vivid. |
| figure of speech | A device used to produce figurative language. Example |
| Generalization | a statement of general principle derived inferentially from a series of examples |
| genre | The major category into which a literary work fits. The basic divisions are poetry, prose, and drama. However, subdivisions may also be called genres |
| generic conventions | The traditions for each genre, helping to differentiate between divisions and subdivisions. |
| homily | Literally, "sermon," but may include any serious talk, speech, or lecture involving moral and spiritual advice. |
| hyperbole | Figure of speech using deliberate exaggeration or overstatement. Not intended literally, hyperbole may be humorous or serious |
| Hypophora | The technique of asking a question and then proceeding to answer it. |
| Hasty generalization | drawing conclusions from insufficient evidence |
| imagery | Sensory details or figurative language used to describe, arouse emotion, or represent abstractions. May use terms related to the five senses |
| inductive reasoning | A form of reasoning which works from a body of fact to the formulation of a generalization (opposite of deduction); frequently used as the principal form of reasoning in science and history. |
| in medias res | Beginning a narrative in the middle of the action. Often this technique will be accompanied by flashback or dialogue that explains what has gone before. (May be used in the narrative essay.) |
| invective | An emotionally violent verbal denunciation or attack using strong, abusive language. |
| inverted syntax | Reversing the normal word order of a sentence; e.g.,"Whose woods these are I think I know" [Robert Frost]. |
| irony/ironic | The contrast between what is stated explicitly and what is really meant; the difference between what appears to be and what is actually true. Irony may be verbal, situational, or dramatic. |
| Induction | reasoning by which a general statement is reached on the basis of particular examples |
| Inference | an interpretation of the facts |
| juxtaposition | The placement of elements, characters, scenes, objects, etc. side by side for purposes of comparison and contrast. |
| Litotes | this device is similar to an understatement; it emphasizes its point by using a word opposite to the condition. |
| loose sentence | A sentence in which the main idea (independent clause) comes first, followed by dependent grammatical units such as phrases and clauses. |
| meiosis (understatement) | The ironic minimizing of fact, understatement presents something as less significant than it is. The effect frequently can be humorous and emphatic. For ex "Last week I saw a woman flayed, and you will hardly believe how much it altered her appearance." |
| Metabasis | a devise used to sum up a body or segment of work that has come before, so that the author can move onto a new point. |
| metaphor | A figure of speech using an implied comparison of seemingly unlike things or the substitution of one for the other, suggesting some similarity. |
| metonymy | (From the Greek, "changed label" or "substitute name") A figure of speech in which the name of one object is substituted for that of another closely associated with it. |
| mood | This term has two distinct technical meanings in English writing |
| Motivational appeal | an attempt to reach an audience by recognizing their needs and values and how these contribute to their decision making |
| Motivational warrant | a type of warrant based on the needs and values of an audience |
| Need | in the hierarchy of Abraham Maslow, whatever is required, whether psychologicalor physiological, for the survival and welfare of a human being |
| Non sequitur | “it does not follow”; using irrelevant proof to buttress a claim |
| onomatopoeia | A figure of speech in which natural sounds are imitated in the sounds of words. |
| order of importance | a method of organizing an essay according to the relative significance of the subtopics. |
| oxymoron | (From the Greek, "pointedly foolish") A figure of speech in which an author juxtaposes apparently contradictory terms. A rhetorical antithesis. Examples |
| Picturesque language | words that produce images in the minds of the audience |
| Policy | a course of action recommended or taken to solve a problem or guide decisions |
| Post hoc | mistakenly inferring that because one event follows another they have a casual relation; from pot hoc ergo propter hoc (“after this, therefore because of this”); also called “doubtful cause” |
| Procatalepsis | deals specifically with objections, and it usually does so without even asking the question. It allows the writer to further his/her argument and satisfy the reader at the same time. |
| Qualifier | a restriction placed on the claim to state that it may not always be true as stated |
| pacing | The relative speed or slowness with which a story is told or and idea is conveyed. |
| parable | A brief story from which a lesson may be drawn; Jesus used the parable to teach his followers moral truths. The parable of the Good Samaritan is an examples. |
| paradox | A statement that appears to be self-contradictory or opposed to common sense but upon closer inspection contains an acceptable and often profound meaning. Often used for emphasis or to attract attention. |
| parallelism | It refers to the grammatical framing of words, phrases, sentences, or paragraphs to give structural similarity. This can involve, but is not limited to, repetition of a grammatical element such as a preposition or verbal phrase. |
| parody | Closely imitates the style/content of another aim of comic effect and/or ridicule. |
| pathos | Qualities of a work that evoke pity or sorrow. An excess of pathos can create over-emotionalism. |
| pedantic | An adjective that describes words, phrases, or general tone that is overly, scholarly, academic, or bookish. Pedantry (n.) is a display of narrow-minded and trivial scholarship or arbitrary adherence to rules and forms. |
| periodic sentence | A sentence that presents its central meaning in a main clause at the end, after all introductory elements such as words, phrases, and dependent clauses. e.g., “Across the stream, beyond the clearing, from behind a fallen tree, the lion emerged.” |
| persona | The fictional voice (or mask) that a writer adopts to tell a story. Persona or voice is usually determined by a combination of subject matter and audience. |
| personification | A figure of speech in which the author presents or describes concepts, animals, or inanimate objects by endowing them with human attributes. Personification is used to make these abstractions, animals, or objects appear more vivid to the reader. |
| pathetic fallacy | A subdivision of personification, this figure of speech refers specifically to the technique of assigning human emotion to a concept, animal, or inanimate object. |
| POV | In literature, the perspective from which the story is told. There are two general divisions of point of view and many subdivisions within those. |
| 1st person | tells the story with the first person pronoun "I," and is a character in the story. |
| 3rd person omniscient | with godlike knowledge, presents the thoughts and actions of any or all characters. This all-knowing narrator can reveal what each character feels and thinks at any given moment. |
| 3rd person limited omniscient | The third person limited omniscient point of view, as its name implies, presents the feelings and thoughts of only one character, presenting only the action of all remaining characters. |
| polemic | An argument against an idea, usually regarding philosophy, politics, or religion. |
| polysyndeton | Sentence that uses and or another conjunction (with no commas) to separate the items in a series. Polysyndeton appears in the form of X and Y and Z, stressing equally each member of the series. |
| post hoc, ergo propter hoc (also called the post hoc fallacy) | When a writer implies that because one thing follows another, the first caused the second. Confusing sequence with causation. |
| predicate adjective | an adjective, group of adjectives, or adjective clause that follows a linking verb. the predicate of the sentence and modifies, or describes, the subject."My boyfriend is tall, dark, and handsome," the group of predicate adjectives describes "boyfriend." |
| predicate nominative | a noun, group of nouns, or noun clause that renames the subject. follows a linking verb and is located in the predicate of the sentence. "Abe Lincoln was a man of integrity," the predicate nominative is "man of integrity," as it renames Abe Lincoln. |
| Refutation | an attack on an opposing view in order to weaken it, invalidate it, or make it less credible |
| Reservation | a restriction placed on the warrant to indicate that unless certain conditions are met, the warrant may not establish a connection between the support and theclaim |
| red herring | The fallacy of raising an irrelevant issue to draw attention away from the real issue. |
| rhetoric | The art of effective communication, especially persuasive discourse. Rhetoric focuses on the interrelationship of invention, arrangement, and style in order to create felicitous and appropriate discourse. |
| rhetorical modes | This flexible term describes the variety, the conventions, and the purposes of the major kinds of writing. The four most common modes are exposition, argumentation, description, and narration. |
| sarcasm | (from the Greek, "to tear the flesh") Sarcasm involves bitter, caustic language that is meant to hurt or ridicule someone or something. |
| satire | A work that targets human vices and follies or social institutions and conventions for reform or ridicule. |
| semantics | The branch of linguistics that studies the meaning of words, their historical and psychological development, their connotations, and their relation to one another. |
| spatial order | organization of information using spatial cues such as top to bottom or left to right. |
| Sign warrant | a warrant that offers an observable datum as an indicator of a condition |
| Slanting | selecting facts or words with connotations that favor the arguer’s bias and discredit alternatives |
| Slippery slope | predicting without justification that one step in a process will lead unavoidably to a second, generally undesirable step |
| Slogan | an attention-getting expression used largely in politics or advertising to promotesupport of a cause or product |
| Statistics | information expressed in numerical form |
| Stipulative definition | a definition that makes clear that it will explore a particular area of meaning of a term or issue |
| straw man | A fallacy in which the opponent’s side is misrepresented in order to more easily attack and refute it. |
| stream of consciousness | Refers to an attempt on the part of an author to reproduce the unembellished flow of thoughts in the human mind with its feelings, judgements, associations, and memories. |
| style | The consideration of style has two purposes |
| Substantive warrant | a warrant based on beliefs about the reliability of factual evidence |
| Syllogism | a formula of deductive argument consisting of three propositions |
| subject complement | The word (with any accompanying phrases) or clause that follows a linking verb and complements, or completes, the subject of the sentence by either (1) renaming it or (2) describing it. |
| subordinate clause | Containing both a subject and a verb, but unlike the independent clause, unable to stand alone; it does not express a complete thought. Easily recognized key words and phrases usually begin these clauses--for example |
| symbol/symbolism | Generally, anything that represents, stands for, something else. Usually a symbol is something concrete--such as an object, character, action or scene--that represents something more abstract. However, symbols and symbolism can be much more complex. |
| synecdoche | A figure of speech in which a part of something stands for the whole thing. In the expression, "I've got wheels," wheels stands for the whole vehicle, usually a car. Be sure you can distinguish this term from metonomy. |
| synesthesia | A sensation produced in one sense when stimulus is applied to another; i.e., seeing a color when hearing a sound. |
| synthesize | To combine or bring together two or elements to produce something more complex. |
| tone | Similar to mood, tone describes the author's attitude toward his or her material, the audience, or both. Tone is easier to determine in spoken than in written language. |
| transition | A word, phrase, sentence, paragraph, or longer passage of writing that serves as a link in the writing. Words such as however, therefore, then and here are often used as transitions. |
| unity | A work of fiction or nonfiction is said to be unified when all of the parts are related to one central idea or organizing principle. Thus, unity is dependent upon coherence. A paragraph may be described as unified in much the same way. |
| verisimilitude | The quality of realism in a work that persuades the reader that he/she is getting a vision of life as it really is. |
| wit | The quickness of intellect and the power and talent for saying brilliant things that surprise and delight by their unexpectedness; the power to comment subtly and pointedly on the foibles of the passing scene. |
| zeugma | A syntactical device in which one word (often a verb) modifies or controls two or more words in a sentence, usually in different, sometimes incongruous ways. |