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249 terms
Terms | Definitions |
|---|---|
 a noun or pronoun (along with modifiers) that follows and renames another noun or pronoun | appositive phrase |
| ansley, MY DAUGHTER, loves to dance | appositive phrase |
| group of words beginning with preposition and ending with noun or pronoun, can act as an adj. or adv. | prepositional phrase |
| prep. phrases must be next to the ___/___ they modify | noun/pronoun |
| I want a room WITH A VIEW. His house is ON THE LAKE. | prepositional phrase |
| infinitive plus its modifiers and objects | infinitive phrase |
| He likes TO EAT PEPPERONI PIZZA. | infinitive phrase |
| gerund plus its modifiers and objects | gerund phrase |
| WRITING LONG ESSAYS can be fun. | gerund phrase |
| participle plus its modifiers and objects | participle phrase |
| RUNNING DOWN THE HALL, he bumped into the principal. | participle phrase |
| verb acting like a noun, ends in -ing | gerund |
| verb acting like an adj., ends in -ing or -ed | participle |
| to + verb, can act like a n, adj, or adv | infinitive |
| READING is fun. | gerund |
| I have RUNNING shoes. | participle |
| It's the best place TO EAT. | infinitive |
| starts adj. dependent clauses | relative pronoun |
| that, which, who, whom, whose | relative pronoun |
| starts adv. dependent clauses (and therefore must be followed by subject and verb) | subordinating conjunction |
| after, since, before, while, because, although, so that, if, when, whenever, as, even though, until, unless, as if, etc. | subordinating conjunction |
| starts noun dependent clauses, may or may not function as part of the noun dependent clause | noun clause identifier |
| that, who, whether, why, what, how, when, where, whom, whoever, etc. | noun clause identifier |
| main clause, can stand alone, doesn't start with a relative pronoun, subordinating conjunction, or noun clause identifier | independent clause |
| subordinate clause, can never stand alone, starts with a relative pronoun, subordinating conjunction, or a noun clause identifier | dependent clause |
| usually starts with a subordinating conjunction | adverb dependent clause |
| We will eat WHEN THE BELL RINGS. | adverb dependent clause |
| usually starts with a relative pronoun | adjective dependent clause |
| She likes the guy WHO SITS IN FRONT OF HER. | adjective dependent clause |
| usually starts with a noun clause identifier | noun dependent clause |
| I hope THAT YOU UNDERSTAND THE EXAMPLES. | noun dependent clause |
| one independent clause | simple sentence |
| two or more independent clauses | compound sentence |
| one independent clause + one or more dependent clauses | complex sentence |
| two or more independent clauses + one or more dependent clauses | compound complex |
| sentence that makes a statement and ends in a period | declarative |
| sentence that asks a question and ends in a question mark | interrogative |
| sentence that gives a command and ends in a period | imperative |
| sentence that expresses strong feelings and ends in an exclamation point | exclamatory |
| sentence structure | syntax |
| 4 terms considered when analyzing style: | diction, sentence structure, treatment of subject matter, figurative language |
| word that's 1 syllable in length | monosyllabic |
| word that's more than 1 syllable in length | polysyllabic |
| slang words | colloquial |
| conversational words | informal |
| literary terms | formal |
| antiquated terms | old-fashioned |
| (1.) word containing an exact meaning (ex:dress), or (2.) word containing a suggestive meaning (ex:gown) | denotative, connotative |
| specific words | concrete |
| general or conceptual words | abstract |
| pleasant sounding words (ex:languid, murmur) | euphonious |
| harsh sounding words (ex:raucous, croak) | cacophonous |
| sentence shorter than 5 words in length | telegraphic |
| sentence approximately 5 words | short |
| sentence approximately 18 words | medium |
| sentince approximately 30 words or more | long and involved |
| sentence that makes complete sense if brought to a close before the actual ending (ex: We reached Edmonton/ that morning/ after a turbulent flight/ and some exciting experiences.) | loose sentence |
| a sentence that makes sense only when the end of the sentence is reached (ex: That morning, after a turbulent flight and some exciting experiences, we reached Edmonton.) | periodic sentence |
| sentence in which the phrases or clauses balance each other by virtue of their likeness of structure, meaning, or length (ex: He maketh me lie down in green pastures; he leadeth me beside the still waters.) | balanced sentence |
| involves constructing a sentence so that the subject comes before the predicate (ex: Oranges grow in California.) | natural order of a sentence |
| involves constructing a sentence so that the predicate comes before the subject (ex: In California grow oranges.) | Inverted order of a sentence/ sentence inversion |
| divides the predicate into 2 parts with the subject coming into the middle (ex: In California oranges grow.) | split order of a sentence |
| a poetic and rhetorical device in which normally unassociated ideas, words, or phrases are placed next to one another, creating an effect of surprise and wit, or irony (ex: The apparition of these faces in the crowd;/ Petals on a wet, black bough) | juxtaposition |
| refers to a grammatical or structural similarity between sentences or parts of a sentence, it involves an arrangment of words, phrases, sentences, and paragraphs so that elements of equal importance are equally developed and similarly phrased (ex: He was walking, running, and jumping for joy.) | parallel structure/ parallelism |
| a device in which words, sounds, and ideas are used more than once to enhance rhythm and creat emphasis | repetition |
| any information used that doesn't give credit to its source is consisdered ___ | plagiarism |
| you ___ book titles, titles of long poems, full length texts (ex: magazines, album titles, newspaper titles) | underline |
| use ____ for short poems, short storeis, and article titles | quotation marks |
| periods and commas go ___ of end quotation marks | inside |
| do not cite a source in the ___ of a sentence | middle |
| write out numbers from ___-___, except ____ | one- ninety nine, except dates |
| ___ inch margins | 1 |
| ___ spaced | double |
| do not ___ between paragraphs | space |
| for a long quotation of more than three typed lines, ___ the entire passage ___. include a ___ at the end. ___ need quotation marks. ___ shows that it's a quote. | indent, 5 spaces, citation, do not, indention |
| short quotations (__ lines or less) should be placed in ___ and ___ | 3, quotations, cited |
| insert a ___ on every page except the ___ page of the paper, even included on ___ page | header, first, works cited |
| header includes: | last name and page number of the paper |
| use a ___ heading, along with a ___ | MLA, title |
| ___ at the end of each bibliography entry | period |
| list only those sources used ___ the paper | within |
| the final draft must include ___ sources | 6 |
| Works Cited ___ go in quotation marks, ___ at the top of the page | does, centered |
| list the entries of the works cited page in ___ order according to the ___ or ___ last name. | alphabetical, author, editor |
| if no author is given, ___ by the ___ of the source. disregard words like ___ and ___ | alphabetize, title, "A", "The" |
| for entries more than one line, the first line begins at the ___ margin and the rest are ___ (like an inverted ___) | left, idented, paragraph |
| ___ space the works cited page | double |
| (do/do not) number entries on the works cited page | do not |
| do not use ___ or __ person, use ___ person | first, second, third |
| type in ___ | 12 pt. times new roman |
| use italics or underlining? | italics |
| a proper title is on the ___ margin: | left, your name, instructors name, course name, date |
| proper citation order? | ... |
| where does the thesis statement go? | last sentence of the first paragraph |
| use ___ when paraphrasing | citations |
| romance employs ___ adventure and ___ emotion rather than ___ depiction of character and action | exotic, idealized, realistic |
| in romance events are depicted more as we ___ them to be; ___ | wish, exagerrated |
| the hero of a romance is ___ and the villain ___ | brave, bad |
| list the 6 conventions of romance | idealized noble characters, exagerrated or larger than life behavior, a hero's quest, supernatural or magical elements, unusual or exotic settings, incidents involving hidden or mistaken identity |
| the romantic hero's quest is motivated by ___, ___, or a desire for ___ | love, religious faith, adventure |
| a romantic hero is a literary ___ referring to a character that ___ established norms and conventions, has been rejected by ___, and has the ___ as the center of his or her own existence | archetype, rejects, society, self |
| the romantic hero is often the ___ in the ilterary work and there is a primary focus on the character's ___ rather than his/her ___ | thoughts, actions |
| characteristics of the romantic hero: ___- reflects, looks inward, ___ of the individual over the ___ and ___ of his/her society or institution, ___- a strong desire for or impulse to wander or travel and explore the world, ___, often feels ___ or ___ from society, may feel ___ for his actions, character is very ___ of himself- leads to a ___ which stops the character from ending ___ | introspection, triumph, rules, constraints, wanderlust, melancholy, alienated/isolated, regret, critical, selfless decision, tragically |
| draw laughter, appeal to good emotions; involves adventures of young lovers who face obstacles and complications that threaten disaster but are overturned at the last moment to produce a happy ending | comedy |
| themes of cyrano: | physical appearance v inner beauty, unrequited love |
| foils in cyrano | cyrano v christian, cyrano- all brains, christian- all looks |
| the repetition of initial consonant sounds (think tongue twisters) | alliteration |
| a reference from literature, mythology, religion, history, science, art, etc. that the author expects the reader to understand and apply | allusion |
| something out of its normal time | anachronism |
| the repetition of the same word or words at the beginning of successive phrases, sentences, commonly in conjunction with parallelism | anaphora |
| a character or force that works against the protagonist | antagonist |
| a figure of speech in which a speaker directly addresses something other than a person or a person who is absent or deceased | apostrophe |
| a novel that recounts the youth and young adulthood ofa sensitive protagonist who is attempting to learn the nature of the world, discover its meaning and pattern, and acquire philosophy of life and the "act of living" | apprenticeship novel |
| words that sound similar but do not rhyme exactly (also called half rhyme, slant rhyme, or imperfect rhyme) | approximate rhyme |
| in a play, words spoken by a character directly to the audience or to another character but not overheard by others onstage | aside |
| the repetition of vowel sounds followed by different consonants in two or more stressed syllables (ex: the crAzy nEIghbor on mAIn street) | assonance |
| a song-like poem | ballad |
| a novel that deals with the development of a young person, usually from adolescence to maturity; it is frequently autobiographical | bildungsroman |
| poetry written in unrhymed iambic pentameter | blank verse |
| a pause in a line of verse dictated by sense or natural speech rhythm rather than by metrics | caesura |
| language which is perceived as harsh, rough, and unmusical | cacophony |
| a moral and spiritual cleansing the audience receives when watching a protagonist overcome great odds to survive (the emotional release) | catharsis |
| the act of creating and developing a character | characterization |
| tells you what traits a character has | direct characterization |
| reader must make conclusions about a character based on a physical description, psychological description, what he says, how he says it, what he does, what he thinks, his environment, what others say about him, his reaction to others, and their reaction to him | indirect characterization |
| the highest point of interest or suspense in a story, novel, or play (not to be confused with the turning point) | climax |
| a comic scene or event that breaks up tension in a serious scene, play, or narrative | comic relief |
| a struggle between opposing forces | conflict |
| when a character struggles with some part of himself | internal conflict |
| when a character struggles with some outside force, such as another character, society as a whole, nature, or a supernatural force | external conflict |
| the set of associations that occur to people when they hear or read a word (the "feeling" of the word) | connotation |
| the repetition in two or more words of final consonants in stressed syllables (ex: hid/bead) | consonance |
| an image or metaphor which runs throughout the work | controlling image |
| two consecutive lines of poetry that form a unit, often emphasized by rhyme | couplet |
| the literal, dictionary definition of a word | denotation |
| repetition of accented vowel sounds and all sounds following them in words that are close together in a poem | rhyme |
| the pattern of rhymed lines in a poem | rhyme scheme |
| musical quality in language, produced by repetition (in poems this is created by the meter) | rhythm |
| all of the events in a plot that take place after the complicating incident and lead up to the climax | rising action |
| a character which shows many different traits | round character |
| writing that uses humor, sometimes gentle and sometimes biting, to criticize people, ideas, or institutions in hopes of improving them | satire |
| writing or speech that appeals to the senses of taste, touch, sight, smell, and/or sound | sensory language |
| the time and place of the action; often used to create mood or used as foreshadowing | setting |
| a figure of speech which uses like, as, than, or resembles to make a comparison between two basically unlike subjects | simile |
| an event occurs that contradicts the expectations of the characters, the reader, or the audience | situational irony |
| a long speech in which a character who is alone on stage expresses private thoughts or feelings | soliloquy |
| a fourteen line poem written in iambic pentameter | sonnet |
| a character who does not change during the course of the story | static character |
| a conclusion that violates the expectations of the reader but in a way that is both logical and believable | suprise ending |
| a feeling of curiosity or uncertainty about the outcome of events | suspense |
| group of consecutive lines that form a single unit in a poem | stanza |
| an author's individual use of language, techniques, subjects, etc. | style |
| a character who lacks individualizing characteristics and portrays an oversimplified mental picture or judgement | stereotype |
| anything that stands for something else; generally a concrete object that represents something abstract | symbol |
| a figure of speech in which a part of something is used to represent the whole thing | synechdoche |
| the physical arrangement of words in a sentence | syntax |
| a central message or insight into life revealed through the literary work. it is not a condensed summary, but rather a generalization about human beings or life that the work communicates | theme |
| the writer's attitude toward his or her audience or subject; expressed in adjective form | tone |
| the moment in the plot when all the action begins to spiral toward its end; not the same event as the climax | turning point |
| a work of literature, especially a play, that results in a catastrophe for the main character | tragedy |
| usually contributes to his own downfall through his/her hamartia/tragic flaw | tragic hero |
| a weakness or flaw in a hero's character | tragic flaw, hamartia |
| a work of fiction describing an imaginary ideal world. the term comes from Sir Thomas Moore's Utopia, written in Latin in 1516, describing a perfect political state. the word itself is a pun on two Greek words outopia, meaning "no place", and eutopia, meaning "good place" | utopia |
| irony in which words are u sed to suggest the opposite of what is meant | verbal irony |
| the ending of a story; the disengaging of the characters; the unraveling of the plot | denouement |
| a portrait drawn in words | description |
| the form of a language spoken by people in a particular region or group. pronunciation, vocabulary, and sentence structure are affected by this. | dialect |
| conversation between characters | dialogue |
| word choice. to discuss this consider the vocab. used, the appropriatenesss of the words, the vividness and effect of the language | diction |
| meaning, "bad place"; the term applied to accounts of imaginary worlds, usually in the future, in which present tendencies are carried out to their intensely unpleasant culmination | dystopia |
| a contradiction between what a character thinks and what the reader knows to be true (we know something the character doesn't) | dramatic irony |
| the author's use of an element, character, or event to influence the reader, to further the plot, or to create irony | dramatic purpose |
| a character who develops and grows during the course of the story. he has changed from the person he was at the beginning | dynamic character |
| rhyme that occurs at the end of a line of poetry | end rhyme |
| continuation of a sentence from one line of a poem to the next so that closely related words fall on different lines | enjambment |
| a sudden understanding or realization which prior to this was not thought of or understood | epiphany |
| an adjective or descriptive phrase that is regularly used to characterize a person, place, or thing | epithet |
| a device where being indirect replaces directness to avoid unpleasantness (ex: saying someone "passed away" instead of saying "she died") | euphemism |
| language which strikes the ear as smooth, pleasant, and musical | euphony |
| the part of the work that introduces the characters, the setting, and the basic situation | exposition |
| a metaphor where several comparisons dealing with the same image are made | extended metaphor |
| writing or speech not meant to be interpreted literaly | figurative language |
| a section of a literary work that interrupts the sequence of events to relate an event from an earlier time | flashback |
| a character who is one dimensional; we see only one character trait | flat character |
| a character who is used to contrast another character (the character must be the same age and gender as the person he/she is contrasting) | foil |
| the use of clues that suggest events that have yet to occur | foreshadowing |
| poetry that does not have a regular meter or rhyme scheme | free verse |
| a division or type of literature | genre |
| overbearing pride or self-confidence which leads a protagonist to disregard a divine warning or to violate an important moral law (often in tragedy, this causes a tragic hero's flaw) | hubris |
| a deliberate exaggeration or overstatement | hyperbole |
| line of poetry made up of five iambs | iambic pentameter |
| an expression peculiar to a particular language that means something different from the literal meaning of the words | idiom |
| the descriptive or figurative language used in literature to create word pictures for the reader | imagery |
| words that appeal to the sense of sight, smell, taste, touch, or sound | sensory imagery |
| also called the complicating incident- the event that introduces the central conflict of the story | initial incident |
| an insertion or interjection during a conversation or speech (usually this is the author speaking directly to the reader) | intercalary statement |
| rhyme that occurs within a line of poetry | internal rhyme |
| a reversal of normal word order | inversion |
| the general name given to literary techniques taht involve differences between appearance and reality, expectation and result, or meaning and intention | irony |
| the placement of two item (i.e. scenes, descriptions, events, etc.) side by side for effect, emphasis or contrast | juxtaposition |
| saying less than is actually meant, generally in an ironic way; understatement | litote |
| poetry that expresses a speakers' emotions or thoughts and does not tell a story | lyric poetry |
| a figure of epech in which one thing is poken of as though it were something else- this comparison is implied rather than stated | metaphor |
| a generally regular pattern of stressed and unstressed syllables in poetry | meter |
| a figure of speech in which the name of one object is substitutedfor that of another closely associated with it | metonomy |
| a speech give by one character in a story, play, or poem | monologue |
| the feeling created in the reader | mood |
| the lesson or principle contained in or taught by the work; a precisely expressed concept or truth | moral |
| a recurring feature in a work that holds some significance | motif |
| a reason that explains or partially explains a character's thoughts, actions, feelings, or behavior | motivation |
| the use of words that imitate sound | onomatopoeia |
| a figure of speech that combines two opposing or contradictory ideas (ex: a cold heat) | oxymoron |
| a statement that seems contradictory or absurd but that expresses the truth | paradox |
| the repetition of a grammatical structure | parallelism |
| a work done in imitation of another, usually in order to mock it | parody |
| a figure of speech in which human characteristics are given to non-human things | personification |
| writing or speech that attempts to convince the reader to adopt a particular opinion or course of action and then do something | persuasion |
| the sequence of events in a story | plot |
| the way a story is told | point of view |
| a major character tells the story, chiefly about himself | first person participant |
| a minor character tells a story that focuses on someone other than himself | first person observer |
| an author tells the story and can enter the mind of any and all characters, thus a reader knows what any and/or all of them think | third person omniscient |
| an author tells a story with the focus on one character. readers know the thoughts of only this one character and only can know scene where this character is present | third person limited omniscient |
| an extremely limitied point of view where the narrator is a mere observer and can only tell the actions and words of the characters | dramatic objective |
| the ordinary form of written language; the opposite of poetry | prose |
| the main character in a literary work | protagonist |
| a play on words based on the different meanings of one word or two words that have similar sounds | pun |
| a stanza or poem consisting of four lines | quatrain |
| a repeated word, phrase, line, or group of lines in poetry | refrain |
| the use, more than once, of any element of language- a sound, figure of speech, word, phrase, clause, or sentence | repetition |
| the presentation of ideas in clear, precise language; the art of persuasion | rhetoric |
| i will eat WHEN THE BELL RINGS | adv dep cl |
| she likes the guy WHO SITS IN FRONT OF HER | adj dep cl |
| i hope THAT YOU UNDERSTAND THE EXAMPLES. | n dep cl |
| ansley, MY DAUGHTER, loves to dance | app ph |
| i want a romm WITH A VIEW | prep ph |
| his house is ON THE LAKE | prep ph |
| he likes TO EAT PEPPERONI PIZZA | inf ph |
| WRITING LONG ESSAYS can be fun | ger ph |
| RUNNING DOWN THE HALL, he bumped into the principal. | part ph |
| i enjoy SHOPPING | ger |
| use pencils for DRAWING | ger |
| FRIGHTENED, i ran down the street. | part |
| it's an UNSPOKEN rule | part |
| its the best place TO EAT | inf |
| i need a pen TO WRITE a letter | inf |
| the unauthorized use or close imitation of the language and thoughts of another author and the representation of them as one's own original work. | plagiarism |
| a restatement of a text or passage giving the meaning in another form, as for clearness; rewording. | paraphrase |
| how to cite a book: | Lastname, Firstname. Title of Book. Place of Publication: Publisher, Year of Publication. Print. |
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