FINAL REVIEW ENGLISH 9

FINAL REVIEW ENGLISH 9

IRONY DEFINITION: WHEN THE OPPOSITE OF WHAT ONE EXPECTS IS THE RESULT VERBAL IRONY--SAYING SOMETHING BUT MEANING SOMETHING ELSE SITUATIONAL IRONY--WHEN THE OPPOSITE OF WHAT YOU EXPECT HAPPENS DRAMATIC IRONY-- WHEN THE AUDIENCE OR READER KNOWS SOMETHING THE CHARACTER DOES NOT

VERBAL IRONY FOR EXAMPLE, IF YOUR GYM TEACHER WANTS YOU TO RUN A MILE IN EIGHT MINUTES OR FASTER, BUT CALLS IT A "WALK IN THE PARK" IT WOULD BE VERBAL IRONY. IF YOUR VOICE TONE IS BITTER, IT'S CALLED SARCASM.

SITUATIONAL IRONY SOMETIMES IT MAKES YOU LAUGH BECAUSE IT'S FUNNY HOW THINGS TURN OUT. EXAMPLE: JOHNNY SPENT TWO HOURS PLANNING ON SNEAKING INTO THE MOVIE THEATER AND MISSED THE MOVIE. WHEN HE FINALLY DID MANAGE TO SNEAK INSIDE HE FOUND OUT THAT KIDS WERE ADMITTED FREE THAT DAY.

DRAMATIC IRONY FOR EXAMPLE, IN MANY HORROR MOVIES, WE (THE AUDIENCE) KNOW WHO THE KILLER IS, WHICH THE VICTIM-TO-BE HAS NO IDEA WHO IS DOING THE SLAYING. SOMETIMES THE CHARACTER TRUSTS THE KILLER COMPLETELY WHEN (IRONICALLY) HE/SHE SHOULDN'T.

TONE A WRITER'S ATTITUDE TOWARD HIS SUBJECT MATTER REVEALED THROUGH DICTION, FIGURATIVE LANGUAGE AND ORGANIZATION. TO IDENTIFY TONE, CONSIDER HOW THE PIECE WOULD SOUND IF READ ALOUD (OR HOW THE AUTHOR WANTED IT TO SOUND ALOUD). TONE CAN BE: PLAYFUL, SERIOUS, BUSINESSLIKE, SARCASTIC, HUMOROUS, FORMAL, SOMBER, ETC.

MOOD A LITERARY ELEMENT THAT BRINGS ON CERTAIN FEELINGS OR VIBES IN READERS THROUGH WORDS AND DESCRIPTIONS. A DEPRESSING MOOD IS CREATED WHENEVER WUTHERING HEIGHTS IS DESCRIBED. FOR EXAMPLE, IN CHAPTER 12 THE NARRATOR SAYS: THERE WAS NO MOON, AND EVERYTHING BENEATH LAY IN MISTY DARKNESS: NOT A LIGHT GLEAMED FROM ANY HOUSE, FAR OR NEAR ALL HAD BEEN EXTINGUISHED LONG AGO: AND THOSE AT WUTHERING HEIGHTS WERE NEVER VISIBLE

FORESHADOWING THE PRESENTATION OF MATERIAL IN SUCH A WAY THAT THE READER IS PREPARED FOR WHAT IS TO COME LATER IN THE WORK.

HYPERBOLE FIGURATIVE LANGUAGE THAT EXAGGERATES. IT IS OFTEN USED IN COMEDY/SATIRE, OR TO CREATE IRONY. EXAMPLE: "WE SAW A GAS STATION EVERY FIVE FEET WHEN THE TANK WAS FULL, BUT WHEN WE FINALLY NEEDED GAS, THERE WASN'T A STATION FOR A THOUSAND MILES."

FIGURATIVE LANGUAGE A WORD OR WORDS THAT ARE INACCURATE LITERALLY BUT CALL TO MIND SENSATION OR EVOKE REACTIONS. METAPHORS, SIMILES. "ALL THE WORLD'S A STAGE."

SIMILE A COMPARISON OF TWO SEEMINGLY UNLIKE THINGS, USING THE WORDS LIKE OR AS.

METAPHOR A COMPARISON BETWEEN TWO SEEMINGLY UNLIKE THINGS WITHOUT USING ANY PARTICULAR WORDING TO CREATE THE COMPARISON.

IMAGERY WORD OR WORDS THAT CREATE A PICTURE IN THE READER'S MIND. USUALLY THIS INVOLVES THE 5 SENSES. AUTHORS OFTEN USE IMAGERY IN CONJUNCTION WITH METAPHORS, SIMILES, FIGURES OF SPEECH TO CONVEY INFORMATION ABOUT CHARACTERS.

SYMBOLISM ANYTHING THAT REPRESENTS OR STANDS FOR SOMETHING ELSE. USUALLY A SYMBOL IS SOMETHING CONCRETE SUCH AS AN OBJECT, ACTIONS, CHARACTER...THAT REPRESENTS SOMETHING MORE ABSTRACT. EXAMPLES OF SYMBOLS INCLUDE THE COLORS IN THE GREAT GATSBY, THE EYES OF DR. T. J. ECKLEBURG ON THE BILLBOARD IN THE GREAT GATSBY, AND THE RAVEN IN "THE RAVEN".

THEME THE CENTRAL IDEA OR MESSAGE OF A WORK. THE THEME MAY BE DIRECTLY STATED IN NONFICTION WORKS, ALTHOUGH NOT NECESSARILY. IT IS RARELY STATED DIRECTLY IN FICTION. THEME OF GRIEVING FOR A LOST LOVE IN THE RAVEN THEME OF THE DECLINE OF THE AMERICAN DREAM IN THE GREAT GATSBY

CENTRAL IDEA A CENTRAL IDEA IS A KEY POINT THE AUTHOR WANTS TO MAKE. NONFICTION WORKS DEVELOP CENTRAL IDEAS THROUGH THE USE OF SUPPORTING DETAILS. ALL THE DETAILS IN THE TEXT DEVELOP AND SUPPORT THE CENTRAL IDEA BY: PROVING IT EXPLAINING IT ILLUSTRATING IT GIVING FURTHER DETAILS

PERSONIFICATION A TYPE OF FIGURATIVE LANGUAGE WHICH ATTRIBUTES HUMAN QUALITIES TO NON-HUMAN SUBJECTS. EXAMPLE: THE OCEAN ROARED IN ANGER AT THE SHIP AND ITS CREW.

ALLUSION ALLUSION IS A BRIEF AND INDIRECT REFERENCE TO A PERSON, PLACE, THING OR IDEA OF HISTORICAL, CULTURAL, LITERARY OR POLITICAL SIGNIFICANCE. IT DOES NOT DESCRIBE IN DETAIL THE PERSON OR THING TO WHICH IT REFERS. IT IS JUST A PASSING COMMENT AND THE WRITER EXPECTS THE READER TO POSSESS ENOUGH KNOWLEDGE TO SPOT THE ALLUSION AND GRASP ITS IMPORTANCE IN A TEXT. DON T ACT LIKE A ROMEO IN FRONT OF HER. ROMEO IS A REFERENCE TO SHAKESPEARE S ROMEO, A PASSIONATE LOVER OF JULIET, IN ROMEO AND JULIET. ONLY THING WE HAD TO FEAR WAS FEAR ITSELF TKAM, REFERENCE TO FDR S SPEECH

INFERENCE INFERENCE IS A LITERARY DEVICE USED COMMONLY IN LITERATURE WHERE LOGICAL DEDUCTIONS ARE MADE BASED ON PREMISES ASSUMED TO BE TRUE. USE WHAT IS IN THE PASSAGE AND WHAT YOU KNOW ABOUT LIFE TO MAKE A SMART GUESS. SHELDON COOPER: I TOOK ANOTHER LOOK AT THE BOARD, AND I REALIZED YOU WERE RIGHT. RAJ KOOTHRAPPALI: SO YOU WERE WRONG. SHELDON COOPER: I M NOT SAYING THAT. RAJ KOOTHRAPPALI: THAT S THE ONLY LOGICAL INFERENCE. SHELDON COOPER: I M STILL NOT SAYING IT. (JIM PARSONS AND KUNAL NAYYAR, THE PIRATE SOLUTION. THE BIG BANG THEORY, 2009)

VOICE THE FORM OR A FORMAT THROUGH WHICH NARRATORS TELL THEIR STORIES. AUTHOR S VOICE AUTHOR S VOICE IS HIS PARTICULAR STYLE HE EMPLOYS IN THAT PARTICULAR STORY OF A PIECE OF WRITING. SHAKESPEARE S WRITING IN R & J CHARACTER S VOICE A CHARACTER S VOICE IS THE VOICE OF THE MAIN CHARACTER HOW HE VIEWS THE WORLD. IT IS A COMMON NARRATIVE VOICE USED WITH FIRST AND THIRD PERSON POINT OF VIEWS, AND AUTHOR USES A CONSCIOUS PERSON AS A NARRATOR IN THE STORY. SCOUT IN TKAM

FLASHBACK A NARRATIVE DEVICE IN WHICH THE STORY IS TOLD AS A MEMORY OF THE PAST. THE GREAT GATSBY IS TOLD BY NICK AFTER THE EVENTS THAT TOOK PLACE DURING THE STORY.

CHARACTERIZATION A LITERARY DEVICE THAT IS USED STEP BY STEP IN LITERATURE TO HIGHLIGHT AND EXPLAIN THE DETAILS ABOUT A CHARACTER IN A STORY.. DIRECT OR EXPLICIT CHARACTERIZATION THIS KIND OF CHARACTERIZATION TAKES A DIRECT APPROACH TOWARDS BUILDING THE CHARACTER. IT USES ANOTHER CHARACTER, NARRATOR OR THE PROTAGONIST HIMSELF TO TELL THE READERS OR AUDIENCE ABOUT THE SUBJECT. 2. INDIRECT OR IMPLICIT CHARACTERIZATION THIS IS A MORE SUBTLE WAY OF INTRODUCING THE CHARACTER TO THE AUDIENCE. THE AUDIENCE HAS TO DEDUCE FOR THEMSELVES THE CHARACTERISTICS OF THE CHARACTER BY OBSERVING HIS/HER THOUGHT PROCESS, BEHAVIOR, SPEECH, WAY OF TALKING, APPEARANCE, AND WAY OF COMMUNICATION WITH OTHER CHARACTERS AND ALSO BY DISCERNING THE RESPONSE OF OTHER CHARACTERS.

RHYME SCHEME THE PATTERN OF RHYME THAT COMES AT THE END OF EACH VERSE OR LINE IN POETRY. ALTERNATE RHYME: IT IS ALSO KNOWN AS ABAB RHYME SCHEME, IT RHYMES AS ABAB CDCD EFEF GHGH. COUPLET: IT CONTAINS TWO LINE STANZAS WITH A, A, RHYME SCHEME THAT OFTEN APPEARS AS A,A, B,B, C,C AND D,D THE PEOPLE ALONG THE SAND (A) ALL TURN AND LOOK ONE WAY. (B) THEY TURN THEIR BACK ON THE LAND. (A) THEY LOOK AT THE SEA ALL DAY. (B)

IAMBIC PENTAMETER A LITERARY DEVICE THAT CAN BE DEFINED AS A LINE IN VERSE OR POETRY THAT HAS FIVE STRONG METRICAL FEET OR BEATS WITH A PATTERN OF UNSTRESSED FOLLOWED BY A STRESSED SYLLABLE. IF MUSIC BE THE FOOD OF LOVE, PLAY ON; GIVE ME EXCESS OF IT, THAT, SURFEITING, THE APPETITE MAY SICKEN, AND SO DIE. THAT STRAIN AGAIN! IT HAD A DYING FALL: O, IT CAME O ER MY EAR LIKE THE SWEET SOUND, THIS EXTRACT HAS IAMBIC PENTAMETER STYLE (UNSTRESSED/STRESSED PATTERN). THE STRESSED SYLLABLES ARE MARKED IN BOLD. HERE WE CAN SEE THAT EACH LINE HAS FIVE BEATS AND STRESS IS PLACED ON THE SECOND SYLLABLE.

BLANK VERSE A LITERARY DEVICE DEFINED AS UN-RHYMING VERSE WRITTEN IN IAMBIC PENTAMETER. IN POETRY AND PROSE, IT HAS A CONSISTENT METER WITH 10 SYLLABLES IN EACH LINE (PENTAMETER); WHERE, UNSTRESSED SYLLABLES ARE FOLLOWED BY STRESSED ONES AND FIVE OF WHICH ARE STRESSED BUT DO NOT RHYME. IT IS ALSO KNOWN AS UN-RHYMED IAMBIC PENTAMETER. SOMETHING THERE IS THAT DOESN T LOVE A WALL. THAT SENDS THE FROZEN-GROUND-SWELL UNDER IT, AND SPILLS THE UPPER BOULDERS IN THE SUN;

IDEA DEVELOPMENT THE TECHNIQUES USED TO MAKE AN IDEA CLEAR FOR A READER. EMPLOYEES WHO FELL LESS THAN 100 PERCENT AND ARE SLEEP DEPRIVED ARE ALSO LESS PRONE TO WORK AT THEIR MAXIMAL PRODUCTIVITY. ONE COMPANY IN CALIFORNIA GAINED A HUGE BOOST IN ITS EMPLOYEES MORALE WHEN IT MOVED FROM AN ARTIFICIALLY LIT DISTRIBUTION FACILITY. WHICH CHOICE BEST SUPPORTS THE STATEMENT MADE IN THE PREVIOUS SENTENCE? A. NO CHANGE B. SAW A 5% INCREASE IN PRODUCTIVITY C. SAVED A GREAT DEAL ON ITS OPERATIONAL COSTS D. INVESTED LARGE AMOUNTS OF TIME AND CAPITAL

PARALLEL STRUCTURE ALSO KNOWN AS PARALLEL CONSTRUCTION. SENTENCE CONSTRUCTION WHICH PLACES EQUAL GRAMMATICAL CONSTRUCTIONS NEAR EACH OTHER OR REPEATS PATTERNS TWO OR MORE TIMES. IT IS THE REPETITION OF STRUCTURE NOT THE REPETITION OF IDEAS IN DIFFERENT WORDS. IT MAY INVOLVE TWO OR THREE MODIFIERS IN A ROW OR REPEATED BEGINNINGS OF LONGER SENTENCES. THE AUTHOR MIGHT REPEAT A PREPOSITION, OR VERBAL PHRASE. CHARLES DICKENS' NOVEL A TALE OF TWO CITIES BEGINS WITH "IT WAS THE BEST OF TIMES, IT WAS THE WORST OF TIMES, IT WAS THE AGE OF WISDOM, IT WAS THE AGE OF FOOLISHNESS..ETC...ETC". EXAMPLES #1 JULIUS CAESAR "I CAME, I SAW, I CONQUERED". #2 SHE LOOKED TIRED, FRUSTRATED, AND DISGUSTED. #3 (NOTICE THE PARALLEL CONSTRUCTION OF EACH PART, AS THEY ARE LAID OUT IN EACH NEW LINE: A NEW GENERATION OF AMERICANS BORN IN THIS CENTURY TEMPERED BY WAR DISCIPLINED BY A HARD AND BITTER PEACE PROUD OF THEIR ANCIENT HERITAGE )

ABANDONED, DESERTED, FORGOTTEN. FORSAKEN

GARISH OBTRUSIVELY BRIGHT AND SHOWY; LURID. GARISH SHIRTS IN ALL SORTS OF COLORS

IMPEDIMENTS A HINDRANCE OR OBSTRUCTION IN DOING SOMETHING. "A SERIOUS IMPEDIMENT TO SCIENTIFIC PROGRESS"

ALTERATION NOUN 1. THE ACT OR PROCESS OF ALTERING; THE STATE OF BEING ALTERED: ALTERATION WILL IMPROVE THE DRESS. 2. A CHANGE; MODIFICATION OR ADJUSTMENT:THERE HAS BEEN AN ALTERATION IN OUR PLANS.

CLAIM AN ARGUABLE POINT THAT GUIDES THE ENTIRE PAPER.

SUPPORT EVIDENCE IN THE WAY OF EXPLANATIONS, DETAILS, EXAMPLES, AND OTHER IDEA DEVELOPMENT TECHNIQUES THAT ARE USED TO SUPPORT THE CLAIM.

COUNTERCLAIM COUNTERCLAIM IS THE OPPOSITE OF THE ARGUMENT, OR THE OPPOSING ARGUMENT SOME ADMINISTRATORS AND TEACHER, PERHAPS SOME OF YOU, WILL SAY THAT CELL PHONES ARE DISTRACTING STUDENTS IN CLASS MORE THAN THEY ARE HELPING. STUDENTS WATCH VIDEOS ON YOUTUBE, PLAY GAMES, OR ARE ON SOCIAL MEDIA INSTEAD OF ENGAGED WITH THE LESSON. UNFORTUNATELY, THIS IS OFTEN TRUE. HOWEVER, THIS IS AS GOOD A TIME AS ANY FOR STUDENTS TO LEARN THE NATURAL CONSEQUENCES OF THE MISUSE OF THEIR TIME AND ATTENTION. AFTER ALL, ANYTHING COULD CAUSE DISTRACTIONS. EVEN A WRITING UTENSIL COULD BE A DISTRACTION IF STUDENTS ALL IT TO BE. IN REALITY, CELL PHONES ARE NO MORE DISTRACTING THAN ANYTHING ELSE IF STUDENTS USE THEM RESPONSIBLY.

REFUTATION THE REBUTTAL TO THE COUNTERCLAIM. MUST BE INCLUDED! OTHERWISE YOU TAKE THE LEGS OUT OF FROM UNDER YOUR OWN ARGUMENT.

CALL TO ACTION/SUMMARY AN EXPLICIT APPEAL TO YOUR AUDIENCE TO TAKE A SPECIFIC ACTION FOLLOWING YOUR SPEECH. A CALL-TO-ACTION IS MOST OFTEN MADE AT THE CONCLUSION OF A PERSUASIVE SPEECH. FOR EXAMPLE, YOU MIGHT CALL ON YOUR AUDIENCE TO ADOPT A NEW BUSINESS PROCESS SPONSOR AN EVENT ATTEND AN EVENT FUND A RESEARCH INITIATIVE REGISTER TO VOTE

CALL TO ACTION/SUMMARY YOUR CALL-TO-ACTION AND YOUR APPROACH TO DELIVERING IT MAY VARY ACCORDING TO YOUR AUDIENCE AND YOUR SPEAKING STYLE. WHILE THERE IS NO RIGID FORMULA, THERE ARE A NUMBER OF GUIDELINES WHICH WILL IMPROVE THE EFFECTIVENESS OF YOUR CALL-TO-ACTION. MAKE YOUR CALL-TO-ACTION CLEAR AND DIRECT. HAVE YOUR AUDIENCE ACT QUICKLY. LOWER BARRIERS TO ACTION. FOCUS ON BENEFITS FOR YOUR AUDIENCE. CUSTOMIZE YOUR CALL-TO-ACTION FOR EACH PERSON.