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Note
Studied by 26 peopleenglish
poetry - parts of poems
speaker:
- the created narrative voice of the poem, not necessarily the poet
- when the poet creates another person to be the speaker, that character is called the persona
persona - a character created by the poet to narrate the poem. By creating a persona, by creating a persona, the poet imagines what it is like to enter someone else’s personality.
audience:
- the person or people to whom the speaker is speaking
- identifying the audience within a poem helps you to understand the poem better
- there are different people the speaker can address in the poem are:
- another character in the poem
- the speaker can address a character who is not present or dead (this is called apostrophe)
- the speaker can address the reader
subject:
- the general or specific topic of the poem, what the poem is about
tone:
- the poet’s attitude toward the subject of the poem, may be different from the speakers attitude
- you can identify the tone of the poem by noting the authors use of poetic devices such as diction, rhythm and syntax
theme:
- the statement the poem/poet makes about its subject
imagery:
- words and phrases used specifically to help the reader to imagine each of the senses; smell, touch, sight, hearing and taste
- each type of imagery has a certain name:
- olfactory - imagery that stimulates the sense of smell
- tactile - imagery that stimulates the sense of touch
- visual - imagery that stimulates the sense of sight
- auditory - imagery that stimulates the sense of hearing
- gustatory - imagery that stimulates the sense of taste
- kinaesthesia - imagery that recreates a feeling of a physical action (pulse, heartbeat)
- synaesthesia - the use of an imagery that uses one sense to evoke another
Glossary of persuasive forms and features
| term | defintion |
|---|---|
| ethos | appeals to the writers character, ethos can be thought of as the role of the writer in the argument, and how credible his/her argument |
| pathos | appeals to the emotions and the sympathetic imagination, as well as to beliefs and values. Pathos can also be thought of as the role of the audience in the argument |
| logos | appeals to reason. Logos can also be thought of as the text of the argument, as well as how well a writer has argued his or her point |
| high modality | high modality language e.g. must, always, certain, expresses a high probability or sense of obligation which adds to the persuasive effect on the audience |
| imperative mood | a command, plea of exhortation expressed by using the base form of the verb, e.g. Eat your vegetables! |
| anecdote | A short, interesting story told about a person’s experience |
| persuasive imagery | similes or metaphors that evoke pathos, prompting readers of listeners to feel a particular emotion |
| rhetorical question | a question that is asked to create a persuasive effect on the audience, rather than in search of an answer |
| repetition | the repetition of words, groups of words, or ideas to emphasise an idea or emotion |
| anaphora | the repetition of a word or group of words at the beginning of successive clauses or sentences |
| tricolon | a group of 3 parallel phrases or clauses |
| direct address | speaking to the audience, often using the pronoun “you” or using the imperative mood |
| inclusive pronouns | pronouns such as “we” and “us”, which encourage a sense of alliance between the speaker/writer and the audience |
| call to action | often used towards the end of a persuasive text to give the audience an action to complete now that they are persuaded |
Glossary of discursive forms & features
| term | definition |
|---|---|
| personal anecdote | a short personal story told within a larger text |
| conversational tone | using words, expressions and sentence structures that are casual and relaxed |
| first person perspective | writing from a personal perspective, using pronouns such as '“i, me, my, we” |
| figurative language | similes, metaphors, personification and other types of non-literal language |
| motif | a repeated image or symbol |
| imagery | similes/metaphors or sensory imager such as visual, aural, tactile, olfactory and gustatory |
| resolution | ending of the piece, could be reflective or circular |
| epigraph | an interesting short quotation at the beginning that foregrounds or in some way inspires the writing that follows it |
| digressive punctuation | punctuation that marks a digressive an discursive mood, brackets, dashes and ellipses |
| embedded phrases & clauses | afterthoughts and extra details added to the main sentence, often bracketed by commas, dashes or brackets |
| colloquialisms | slang terms |
| vignettes | short word pictures or written sketches. A discursive piece can be written entirely in vignettes |
| intertextuality | including references to other texts, books/films/myths |
| low modality | words that express a low degree of certainty or obligation, might/probably/could/possibly |
| numbered or subtitles sections | some discursive pieces are structures in sections marked by numbers or subheadings |
Glossary of some satirical forms and features
| term | definition |
|---|---|
| satire | the use of humour, irony, exaggeration or ridicule to expose and criticise peoples stupidity or vices, particularly in the context of current issues |
| vice | morally wrong behaviour, lying |
| folly | stupid or silly behaviour, wearing extreme fashions |
| exaggeration | exaggeration is used to emphasise a vice or folly and clearly show how wrong or strange it is |
| irony | verbal irony is a way of emphasising a folly or vice by deliberately describing it in a way that is different to the actual meaning, pretending strange people of ideas are sensible |
| sarcasm | similar to verbal irony, but more aggressive and less subtle, e.g saying “wow thats so graceful”, when someone falls over |
| ridicule | making fun or showing contempt for someone or something, mockery |
| parody | an exaggerated copy of a person, song, film, genre, text |
| inversion or reversal | satirising a situation by reversing it, depicting male superheroes in sexualised poses that female superheroes are usually drawn in |
| caricature | an exaggerated character or form of visual exaggeration, drawing someone with extremely large ears |
| hyperbole | exaggerated figurative language (similes, metaphors, etc.) |
| incongruity | putting a person or thing in an unusual setting to crate a sense of absurdity (comic strangeness), a caveman suing an ipad |
| juxtaposition | putting two things or people close together for satiric effect |
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5.0(1)