103 Sentences With "rhetorical devices" | Random Sentence Generator

Plenty of famous speakers employed rhetorical devices that involved repetition.

Those rhetorical devices entail correspondences either too concrete (analogy) or too abstract (metaphor).

All of which is the function of her toolbox of rhetorical devices: Suggestive apposition.

Read "Juliet Takes a Breath" slowly and your imagination may catch on some of the novel's logistical snafus and rhetorical devices that don't quite work.

Yet in making the argument against Britain's tyranny, one of the colonists' favorite rhetorical devices was to claim that they were the slaves — to Britain.

We use it in this lesson plan, in which students explore the use of these rhetorical devices via the Op-Ed "Rap Lyrics on Trial" and more.

Later, he employed one of his favorite rhetorical devices, "they say:" TRUMP: They say that we had hurricanes that were far worse than what we just had with Michael.

"We are very convenient rhetorical devices and everybody wants to claim us as long as we are the right kind of veterans," said Andrea Chandler, a Navy veteran who also belongs to the Veterans Working Group.

In the span of approximately six words, the poor child accomplishes all it was ever meant to, and the singer wanders off, abandoning it to the care of the San Girolamo Home for Orphaned Rhetorical Devices.

"If the US leaves, people across the region will think that despite his flowery rhetorical devices, Trump does not really have a strategy for the Middle East and at the end of the day will fold and go home," Gerges said.

I really did not understand at first but then I realize that I would rather watch a 143 minute video with Carl Azuz talking about trivial events rather than read a gigantic essay that goes back and forth, using rhetorical devices, counterarguments, analysis, etc.

That our educational system, despite routinely teaching the young about facts, their potential distortion, the uses of rhetorical devices to skew and becloud and appropriate analytic "countermeasures," has not succeeded in equipping citizens with sufficient commitment to the truth, nor the means to approach it.

Word relation rhetorical devices operate via deliberate connections between words within a sentence.

Word repetition rhetorical devices operate via repeating words or phrases in various ways, usually for emphasis.

The blatantness of its rhetorical devices and the perverseness of its address create discomfort for serious theorists.

All these films employ the same rhetorical devices: the dangers of nature and the struggle of the communities to eke out an existence.

Rather than certain rhetorical devices falling under certain modes of persuasion, rhetorical devices are techniques authors, writers or speakers use to execute rhetorical appeals. Thus, they overlap with figures of speech, differing in that they are used specifically for persuasive purposes, and may involve how authors introduce and arrange arguments (see the section on discourse level devices) in addition to creative use of language.

Using strong diction, purposeful syntax, and various rhetorical devices, the poem hits on prominent feminist issues such as gender stereotypes, sexism, and the effect of a patriarchal society.

The work describes figurative language, rhetorical devices, and irregular Latin grammar using "sophisms" or illustrative examples. It aims to complement Bacon's students' required readings of Priscian's work On Construction by presenting its important points in a more thorough and logical order. It assumes a mastery of standard grammatical rules which the students would have already learnt as '.. It most frequently cites Priscian, but more often adopts the solutions of Peter Helias. The first section lays out rules regarding grammatical agreement and the rhetorical devices antithesis, synthesis, procatalepsis,.

The speech is a famous example of the use of emotionally charged rhetoric. Comparisons have been drawn between this speech and political speeches throughout history in terms of the rhetorical devices employed to win over a crowd.

Most entries link to a page that provides greater detail and relevant examples, but a short definition is placed here for convenience. Some of those listed may be considered rhetorical devices, which are similar in many ways.

Aristotle wrote in the Poetics that "the greatest thing by far is to be a master of metaphor." Since the rise of Modernism, some poets have opted for a poetic diction that de-emphasizes rhetorical devices, attempting instead the direct presentation of things and experiences and the exploration of tone. On the other hand, Surrealists have pushed rhetorical devices to their limits, making frequent use of catachresis. Allegorical stories are central to the poetic diction of many cultures, and were prominent in the West during classical times, the late Middle Ages and the Renaissance.

Its essential features had already appeared in such works as George Pettie's A Petite Pallace of Pettie his pleasure (1576), in sermon literature, and Latin tracts. Lyly perfected the distinctive rhetorical devices on which the style was based.

Discourse level rhetorical devices rely on relations between phrases, clauses and sentences. Often they relate to how new arguments are introduced into the text or how previous arguments are emphasized. Examples include antanagoge, apophasis, aporia, hypophora, metanoia and procatalepsis.

While some of his book is based on previous writings by Heinrich Glarean and Franchinus Gaffurius, the section on the rhetorical devices in music is original, and signifies the rapidly changing practice during the transitional period between Renaissance and Baroque styles.

Enrique González Martínez continued to be a modernismo poet for the rest of his life. Tuércele el cuello al cisne is not a rejection of the Modernismo movement but should be seen as a rejection of surface rhetorical devices and frivolity rather than of the whole movement.

A literary trope is the use of figurative language, via word, phrase or an image, for artistic effect such as using a figure of speech. The word trope has also come to be used for describing commonly recurring literary and rhetorical devices, motifs or clichés in creative works.

The Babylonian Captivity to the reign of Emperor Augustus. > 6\. The birth of Christ to the reign of Emperor Frederick I, though the > sixth age was envisioned to last until Judgement Day. The text uses little direct speech and other than occasional alliteration, very few rhetorical devices are used.

On the other hand, formal equivalence can allow readers familiar with the source language to analyze how meaning was expressed in the original text, preserving untranslated idioms, rhetorical devices (such as chiastic structures in the Hebrew Bible) and diction in order to preserve original information and highlight finer shades of meaning.

Postmodernism is an intellectual stance or mode of discourseNuyen, A.T., 1992. The Role of Rhetorical Devices in Postmodernist Discourse. Philosophy & Rhetoric, pp.183-194. defined by an attitude of skepticism toward what it describes as the grand narratives and ideologies of modernism, as well as opposition to epistemic certainty and the stability of meaning.

Bdelygmia is consistent with an appeal to pathos. If an individual is trying to move their audience emotionally, he or she must express the same emotion toward a view or individualin this case, hatred. Distinction is made between hatred and criticism. In comparison with other rhetorical devices, bdelygmia is not considered a very sophisticated appeal to emotion.

However, she also argues that, while these rhetorical devices can be highly effective and are employed for specific strategic purposes, they also have identifiable limitations in their capacity to persuade people. Demagogue for President was included on Literary Hub's summer 2020 list of "The Best New Books to Read This Summer", as well as its "Most Anticipated Books of 2020".

David Evans, in The Independent, called it an "enjoyable, accessible book". Christopher Howse in The Spectator criticised mistakes and wrongly attributed quotes in the book. Howse also described the author as "well informed and amusing". The Wall Street Journal review said Forsyth is "adept at adding spice to received wisdom and popularizing the findings of academic linguists" and emphasizes that "potent rhetorical devices are all around us".

The use of metanoia to weaken a statement is effective because the original statement still stands, along with the qualifying statement.VirtualSalt.com (2006). A Handbook of Rhetorical Devices For instance, when one says, "I will murder you. You shall be punished," the force of the original statement ("I will murder you") remains, while a more realistic alternative has been put forward ("you shall be punished").

In this way the treatise becomes not only a text of literary inquiry, but also one of ethical dissertation, since the Sublime becomes the product of a great soul (, megalophrosunēs apēchēma). The sources of the Sublime are of two kinds: inborn sources ("aspiration to vigorous concepts" and "strong and enthusiastic passion") and acquirable sources (rhetorical devices, choice of the right lexicon, and "dignified and high composition").

Ahli Shirazi (Persian: اهلی شیرازی ), full name Muhammad ibn Yusuf Ahli Shirazi, was a Persian poet who lived in Shiraz, Iran from 858 to 942H (circa 1454-1535). He is buried in Hafezieh. It is said that his life style was retiring, he faced poverty, and his life was filled with struggle. Ahli Shirazi excelled especially in elaborately ingenious word plays () and other rhetorical devices.

Alliteration is the repetition of the sound of an initial consonant or consonant cluster in subsequent syllables. It is one of the most well-known and effective rhetorical devices throughout literature and persuasive speeches. :From forth the fatal loins of these two foes, :A pair of star- cross’d lovers take their life. (R&J; Prologue) :Small showers last long but sudden storms are short.

In: Bulletin of the School of Oriental and African Studies Vol. 58. No. 3 p 495–520. In Kāvyādarśa, Daṇḍin argues that a poem's beauty derives from its use of rhetorical devices - of which he distinguished thirty-six. He is known for his complex sentences and creation of long compound words (some of his sentences ran for half a page, and some of his words for half a line).

Several critics have approved the poet's smooth handling of his metre, the four-stress couplet, Likewise there has been praise for the lyrical verses on the seasons of the year with which the romance is sprinkled. It has been noted that the poet was capable of using rhetorical devices, including repetition, homely similes, the rhetorical question and, especially, the use of those verbal formulas that typify epic poetry.

The Protest (Antilogia) against those who advocate a suffering God (Theopaschism) is written in a clear and vigorous style using various rhetorical devices (formulae, punch-lines, diatribe, metaphor - e.g.,in chapter 20, reaching a safe harbour after the risk of piracy) and attempting to expose the absurdity of his Alexandrian school opponents' arguments. He uses the terminology derived from Theodore of Mopsuestia and Nestorios, e.g. sunapheia. Minor incoherences (e.g.

The Price of Memory: After the Tsunami received favourable critical attention on its publication. Yusuf Serunkuma Kajura, a reviewer for The Weekly Observer (Uganda) claimed that Barya's "poetry blossoms on indigenous African imagery, rhetorical devices and ideas, easily comparable to Okot p'Bitek's long poem, Song of Lawino." But Barya's poetry "is an enthusiastic trumpet, subtly blown for the woman in society, unlike Lawino's defence of the traditional African values".Kajura, Y. S. (26 April 2007).

According to literary critic Serajul Islam Choudhury, Nazrul's poetry is characterised by abundant use of rhetorical devices, which he employed to convey conviction and sensuousness. He often wrote without care for organisation or polish. His works have often been criticized for egotism, but his admirers counter that they carry more a sense of self-confidence than ego. They cite his ability to defy God yet maintain an inner, humble devotion to him.

Marchocka's autobiography is not a neat, chronological timeline of her life. Instead, it is disjointed, fragmented, and merges stories from both her family life and her own spiritual journey. Her language is simple, and she does not clutter her writing with complex rhetorical devices or even excerpts of liturgical texts. Marchocka's autobiography contains several elements typically found in the hagiography of saints, including miraculous events like premonitions and visions of the Virgin Mary.

Bomphiologia can be used to comic effect,HighBeam Research (2006). A Catalogue of Selected Rhetorical Devices Used in the Works of Edgar Allan Poe as in the above hyperbolic instance with the character of Falstaff. This is an ironic use of the term, because Falstaff is an old, fat drunkard—-obviously in no condition to be scaring enemies as he claims to be. Edgar Allan Poe used bomphiologia as a part of his style.

Perennials: New & Selected Poems marks Albrizio’s break from traditional forms. It was published in 2007. Although it includes some of her most well received poems from her previous two books, it also consists of over 30 new poems that are largely written in free verse or in forms of her own creation. She continues to teach poetry workshops, but has since added a segment on applying the rhetorical devices used in formal verse to free-verse writing.

The Kavyadarsha (, ) by Dandin is the earliest surviving systematic treatment of poetics in Sanskrit. This work is divided into 3 paricchedas (chapters) in most of the printed editions, except one, where the third chapter of the other editions is further divided into two. Most of the printed editions have 660 verses, except one, which has 663. In Kāvyādarśa, Daṇḍin argued that a poem's beauty derived from its use of rhetorical devices - of which he distinguished thirty-six types.

The language of rímur is likewise influenced by the rhetorical devices associated with late medieval geblümter Stil ('flowery style'). When they are long — as they usually are — rímur usually comprise several distinct sections, each being called a ríma, and each usually in a different metre. After the earliest rímur, it became conventional to begin each ríma in a cycle with a mansöngr, a lyric address, traditionally to or about a woman whom the poet supposedly loves, usually in vain.

Russian Orthodox icon of The Good Thief in Paradise (Moscow School, c. 1560) A deathbed conversion is the adoption of a particular religious faith shortly before dying. Making a conversion on one's deathbed may reflect an immediate change of belief, a desire to formalize longer-term beliefs, or a desire to complete a process of conversion already underway. Claims of the deathbed conversion of famous or influential figures have also been used in history as rhetorical devices.

One of the outstanding features of the Peri Pascha is its extensive use of classical rhetorical devices such as homoioteleuton, polysyndeton, isocola, alliteration, chiastic antithesis and the deployment of rhetorical questions. The extensive use of such devices argues against the hypothesis, advanced by some scholars, that it was originally written in Syriac. Henry M. Knapp, 'Melito's Use of Scripture in "Peri Pascha": Second-Century Typology,' in Vigiliae Christianae, Vol. 54, No. 4 (2000), pp. 343-374,pp.343-344.

The style of the OIHB is closer to that of the Íslendingasögur than the Latinate vocabulary and syntax of later Old West Norse religious prose. It makes use of abrupt changes in tense and from indirect to direct speech, particularly in paraphrases of the gospels. It occasionally uses “native proverbs and everyday similitudes” which contribute to its simple, practical style. However, rhetorical devices are sometimes used to achieve a high style and some sentences can be scanned as verse.

Malmaison version. The gesture is omnipresent in David's painting, from St. Roch Interceding with the Virgin for the Plague Stricken to Mars disarmed by Venus and the Graces. The raised hands of the Oath of the Horatii, the Tennis Court Oath or The Distribution of the Eagles are rhetorical devices making pleading manifest in the paintings. In The Death of Socrates, the philosopher—on the point of drinking hemlock—continues teaching his disciples with a gesture of reprimand at their emotional displays.

He details examples of Eastern imagery, customs and traditions in Romeo and Juliet and remarks that the linguistic style, particularly the extensive use of rhetorical devices helps to bring the story "nearer to similar ones in the literature of the East."Safa A. Khulusi, Arabian Influence on the concept of Platonic love in Shakespeare, Islamic Review, Oct 1966, p.18. Khulusi's thesis was expounded in Arabic publications. His view that Shakespeare had Arabic ancestors is highly speculative and lacks any evidence.

The rhetorical devices he most favoured were repetition (both in the forms of anaphora and epizeuxis), parallelism, antithesis, and the use of sententiae, or gnomic sayings. He had a rich vocabulary, could employ an almost epigrammatic irony, and, while conforming to the conventions of poetic art, gave an appearance of spontaneity to his verse. His style was neat, lively, and essentially simple. His poem is sometimes garrulous, but moderately so by medieval standards, and he avoids the other medieval vice of exaggeration.

In the Middle Ages, religion played a major role in driving antisemitism. Adversus Judaeos ("against the Judeans") are a series of fourth century homilies by John Chrysostom directed to members of the church of Antioch of his time, which continued to observe Jewish feasts and fasts. Critical of this, he cast Judaism and the synagogues in his city in a critical and negative light. The use of hyperbole and other rhetorical devices painted a harsh and negative picture of the Jews.

The second component of the work is Nakkiranar's treatise on love poetics which, although structured as a commentary, is treated by modern scholars as an erudite work in its own right. It is several times the length of the verses themselves, running to over two hundred pages in Tamil. The treatise is written in the tone and style of a discourse of the type that might be heard at a literary academy. The commentary uses a number of rhetorical devices.

In De Consolatione ad Helviam Matrem, Seneca writes his mother to console her on his recent exile to Corsica. In this work, Seneca employs many of the rhetorical devices common to the Consolatio Tradition, while also incorporating his Stoic Philosophy. Seneca is the consoler and the one inflicting suffering in this work, and notes this paradox in the text. Seneca was charged with adultery with Julia Livilla, sister of Emperor Caligula in 41 AD. He was shortly after exiled to Corsica.

The rhetorical devices of metaphor and personification express a form of reification, but short of a fallacy. These devices, by definition, do not apply literally and thus exclude any fallacious conclusion that the formal reification is real. For example, the metaphor known as the pathetic fallacy, "the sea was angry" reifies anger, but does not imply that anger is a concrete substance, or that water is sentient. The distinction is that a fallacy inhabits faulty reasoning, and not the mere illustration or poetry of rhetoric.

Ecclesiastes is divided into four sections, but Erasmus himself declares that those sections cover three themes. Section one is a discussion of the value of the office of priest, and the qualities that an effective preacher exemplifies and cultivates. Sections two and three are a review of rhetorical devices that a good preacher should have in their repertoire. Erasmus believed that a priest should have a solid background in homiletics and hermeneutics in order to properly interpret scripture, and construct effective sermons on that interpretation.

Coats (2009), 87–89 Ignoring Victorian and Edwardian grammar and structure, he created a unique form of speech, employing odd words and jargon, avoiding verbs, and using rhetorical devices such as parataxis.Stark (2001) 10–12 Pound's relationship to music is essential to his poetry. Although he was tone deaf and said he had the voice of a "tree toad"—Michael Ingham describes Pound's voice as "raucous, nasal [and] scratchy"—he is on a short list, according to Ingham, of poets possessed of a sense of sound, an "ear" for words, imbuing his poetry with melopoeia.

Considered by some an experimental poet, Powell mixes both conventional and non-conventional techniques. For example, his early poems do not have titles; the first lines serve as the poems' working titles. He also does not capitalize the first letter of a new sentence; in this sense, he is reminiscent of E. E. Cummings. His work often moves back and forth between popular culture like movies and music and more complicated themes like religion and AIDS; he uses numerous rhetorical devices, especially puns, as bridges between these two spheres of experience.

Poets such as William Shakespeare and John Milton both used the grand style. Augustine, notable for his On Christian Doctrine, expanded on Cicero's partition of the three styles by describing them as follows: the plain style is intended merely to be understood, the middle (or temperate) style is intended to be enjoyable to listen to and the grand style is intended to also be persuasive. The grand style incorporates all three, as it informs the audience of a concept, pleases through rhetorical devices and persuades via its eloquence.

In the case of Bate however, in 2002, he came out in support of Brian Vickers' book Shakespeare, Co-Author which restates the case for Peele as the author of Act 1, 2.1 and 4.1.Chernaik (2004: 1030) Vickers' analysis of the issue is the most extensive yet undertaken. As well as analysing the distribution of a large number of rhetorical devices throughout the play, he also devised three new authorship tests; an analysis of polysyllabic words, an analysis of the distribution of alliteration and an analysis of vocatives.

Similarly, "[o]ne early student of Wulfstan, Einenkel, and his latest editor, Jost, agree in thinking he wrote verse and not prose" (Continuations, 229). This suggests Wulfstan's writing is not only eloquent, but poetic, and among many of his rhetorical devices is marked rhythm (229). Taking a look at Wulfstan's actual manuscripts, presented by Volume 17 of Early English Manuscripts in Facsimile, it becomes apparent that his writing was exceptionally neat and well structured – even his notes in the margins are well organised and tidy, and his handwriting itself is ornate but readable.

Censorship is one issue Sidney had to overcome through his use of rhetorical devices in the Apology. Sidney was also versed in the phenomenon of courtiership. As part of his strategy against the threat of censorship, Sidney uses the structure of classical oration with its conventional divisions such as exordium and peroratio. Sidney's use of classical oration stems from his humanist education (Harvey 1). He uses this method to build his argument, by making user of the rhetorical methods in such guides as Thomas Wilson’s Arte of Rhetorique (1553) (Harvey 2).

As with all literary conceits, the frame tale has many variations, some clearly within the confines of the conceit, some on the border, and some pushing the boundaries of understanding. The main goal of a frame tale is as a conceit which can adequately collect otherwise disparate tales. It has been mostly replaced, in modern literature, by the short story collection or anthology absent of any authorial conceit and other rhetorical devices. To be a frame narrative, the story must act primarily as an occasion for the telling of other stories.

Elsewhere it is once every 8.7 lines. As comparison, in Peele's Edward I, the rate is once every 4.3 lines, and throughout Shakespeare, it never falls below once every 6.3 lines. Again, the numbers seem to equate Peele with Act 1, 2.1 and 4.1 and Shakespeare with the rest of the play. Vickers also attempts to show that Shakespeare is much more adept at employing rhetorical devices than Peele; and gives numerous examples throughout the play of the use of antimetabole, anadiplosis, epanalepsis, epizeuxis, articulus, epanorthosis, epistrophe, aposiopesis, anaphora, polyptoton, synoeciosis, polysyndeton and asteismus.

Title page of Geoffrey Chaucer's Canterbury Tales in the hand of Adam Pinkhurst, c. 1400 The variety of Chaucer's tales shows the breadth of his skill and his familiarity with many literary forms, linguistic styles, and rhetorical devices. Medieval schools of rhetoric at the time encouraged such diversity, dividing literature (as Virgil suggests) into high, middle, and low styles as measured by the density of rhetorical forms and vocabulary. Another popular method of division came from St. Augustine, who focused more on audience response and less on subject matter (a Virgilian concern).

This is a step towards retelling the legacy of colonization from a Native American perspective instead of the Euro-American perspective, and is also an opportunity to break the mold of stereotypes still around today that are largely driven by consumerism. Many of contemporary films include themes about identity. Often, at least one of the characters grapples with honoring and acknowledging their cultural heritage while also living in a colonized society. The films also use various rhetorical devices to convey other cultural beliefs, including spirituality, life and death, time and space.

At the micro-level, the analyst considers various aspects of textual/linguistic analysis, for example syntactic analysis, use of metaphor and rhetorical devices. The meso-level or "level of discursive practice" involves studying issues of production and consumption, for instance, which institution produced a text, who is the target audience, etc. At the macro-level, the analyst is concerned with intertextual and interdiscursive elements and tries to take into account the broad, societal currents that are affecting the text being studied. Teun A. van Dijk's approach to Critical Discourse Analysis combines cognitive theories with linguistic and social theories.

The first line (A solis ortu...) is drawn from a fifth-century hymn of Caelius Sedulius.Godman, 32, who stresses that the poem is not a mixture of "popular dirge with ... rhetorical devices" (phrase of F. J. E. Raby), but, like the contemporary Versus de Verona and De Pippini regis Victoria Avarica, a purposed hybrid of learned and vulgar Latin. Godman also notes that the planctus is not a hymn, though it has hymn-like characteristics. As the Sedulian hymn was sung at Christmastime, the sorrowful Planctus presents a contrast with the joy typically associated with its opening.

Thucydides' Greek is notoriously difficult, but the language of Pericles Funeral Oration is considered by many to be the most difficult and virtuosic passage in the History of the Peloponnesian War. The speech is full of rhetorical devices, such as antithesis, anacoluthon, asyndeton, anastrophe, hyperbaton, and others; most famously the rapid succession of proparoxytone words beginning with e ("" [judging courage freedom and freedom happiness]) at the climax of the speech (43.4). The style is deliberately elaborate, in accord with the stylistic preference associated with the sophists. There are several different English translations of the speech available.

Igbo affixes to English verbs determine tense and aspectual markers, such as the Igbo suffix -i affixed to the English word check, expressed as the word CHECK-i. The standardized Igbo language is composed of fragmented features from numerous Igbo dialects and is not technically a spoken language, but it is used in communicational, educational, and academic contexts. This unification is perceived by Chukwuma Azuonye as undermining the survival of Igbo by erasing diversity between dialects. Each individual dialect possesses unique untranslatable idioms and rhetorical devices that represent Igbo cultural nuances that can be lost as dialects disappear or deteriorate.

This reaction against Indian-style Persian poetry has continued to the present century, when even Western scholars such as E.G. Browne have dismissed this tradition. Riza Qulī Khān Hidāyat (born 1800) in the introduction to his Majmaʿ al-Fuṣaḥā, writes the following: > Under the Turkomans and the Safavids, reprehensible styles appeared ... and > since there were not binding rules for lyrics, the poets, following their > sick natures and distorted tastes, began to write confused, vain, and > nonsensical poems. They placed in their poetry insipid meanings instead of > inspired truths, ugly contents ... instead of fine rhetorical devices and > attractive innovations.Yarshater, Ehsan.

In rhetoric, a rhetorical device, persuasive device, or stylistic device is a technique that an author or speaker uses to convey to the listener or reader a meaning with the goal of persuading them towards considering a topic from a perspective, using language designed to encourage or provoke an emotional display of a given perspective or action. Rhetorical devices evoke an emotional response in the audience through use of language, but that is not their primary purpose. Rather, by doing so, they seek to make a position or argument more compelling than it would otherwise be.

Thus, when the narrator of the poem says to the girl, da michi, queso, tua virginitate frui ("grant me, I beg, your virginity for my enjoyment"), the reader (or listener) is supposed to laugh at the play on Daphne's request that her father da mihi perpetua ... virginitate frui ("grant ... that I may enjoy perpetual virginity") in the Metamorphoses (I.486-87). Despite its Ovidianism and its early misattribution, the poem has the hallmarks of medieval composition, including a highly rhetorical style and Scholastic reasoning. The rhetorical devices do not translate easily and the English can sound stilted or redundant.

The multiple-choice section of the test is approximately 55 questions, with the exact number of questions varying from 52 to 55 with each test administration. There are typically 4 short passages divided between pre-20th century non- fiction prose, and 20th and 21st century non-fiction prose. The questions typically focus on identifying rhetorical devices and structures from the passages, as well as their general functions, purposes in a passage, the relationships between the devices, and the formal features of the text. In 2007, questions were added that ask about citation information included in the passages.

Craig Watkins (2001, pp. 92–4) makes use of the Hallin's spheres in a paper examining ABC, CBS, and NBC television network television news coverage of the Million Man March, a demonstration that took place in Washington, DC on October 16, 1995. Watkins analyzes the dominant framing practices – problem definition, rhetorical devices, use of sources, and images – employed by journalists to make sense of this particular expression of political protest. He argues that Hallin's three spheres are a way for media framing practices to develop specific reportorial contexts, and each sphere develops its own distinct style of news reporting resources by different rhetorical tropes and discourses.

McLachlan's musical aesthetic is largely shaped by a desire to impart a sense of narrative and expectation to his music without recourse to pastiche rhetorical devices. A critic wrote of a recording of McLachlan's piano piece Nine: "The style of each little piece sends one's imagination and musical memory reeling, some of them evoking French Impressionism, some jazzy in feel, some reminiscent of the miniatures for piano of Webern, and none of them in any way, shape or form derivative."Rafael de Acha, in: Music for All Seasons, 2015. Much of his music is structured in contrasting and suddenly changing block-like sections of homogeneous material.

Nancy Frankenberry, Professor of Religion at Dartmouth College, has described Polkinghorne as the finest British theologian/scientist of our time, citing his work on the possible relationship between chaos theory and natural theology. Owen Gingerich, an astronomer and former Harvard professor, has called him a leading voice on the relationship between science and religion. The British philosopher Simon Blackburn has criticized Polkinghorne for using primitive thinking and rhetorical devices instead of engaging in philosophy. When Polkinghorne argues that the minute adjustments of cosmological constants for life points towards an explanation beyond the scientific realm, Blackburn argues that this relies on a natural preference for explanation in terms of agency.

"Einstein" is a song by American recording artist Kelly Clarkson, from her fifth studio album, Stronger (2011). Originally titled as "Dumb + Dumb = You", "Einstein" was written by Clarkson, Toby Gad, Bridget Kelly, and James Fauntleroy II, with Gad handling the production. Lyrically, the song is written in a woman's first-person narrative about her acquiescence and infuriation towards her ex-lover, whom she described in the song as "dumb". Written in wordplay, it uses various mathematical-related equations and topics as rhetorical devices to describe their relationship, notably referencing the German-born physicist Albert Einstein in a metaphorical lyric, which led to the song being named after him.

His works include ghazals, qasidas, robais (quatrains), and other types. One ornamental ode imitates a famous rhetorical piece by Salman Savaj and was judged more successful than Salman's original; but Lotf Ali Beg commented that such rhetorical devices are not the stuff of which true poetry is made. Of Ahli's masnavis an allegory on love entitled (completed in 1489) is interesting for its treatment not only of the standard suffering of the lover (moth), but also of the affection that the beloved (candle) develops for the suffering lover, only for the two to be parted by "cruel fate" through the agency of the wind.

Poetic diction treats the manner in which language is used, and refers not only to the sound but also to the underlying meaning and its interaction with sound and form. Many languages and poetic forms have very specific poetic dictions, to the point where distinct grammars and dialects are used specifically for poetry. Registers in poetry can range from strict employment of ordinary speech patterns, as favoured in much late-20th-century prosody, through to highly ornate uses of language, as in medieval and Renaissance poetry. Poetic diction can include rhetorical devices such as simile and metaphor, as well as tones of voice, such as irony.

The cognitive environment, as the space in which conviction is experienced and then personalized in persuasion, has been developed in the work since the mid- nineties, culminating in the replacement of Perelman's notorious universal audience with this idea. This in turn has allowed for traditional rhetorical concepts like presence and ethos to be reimagined as important contemporary ideas. Such rhetorical devices are developed as a means of engaging an audience's rationality as well as referring to the specific interests or desires of that audience. His practical work is reflected in textbooks that translate state-of-the-art research so as to inform the practice of everyday reasoning.

Barya's first published collection of poems, Men Love Chocolates But They Don't Say, won the Ugandan National Book Trust Award for 2002. Her second collection, The Price of Memory: After the Tsunami, also received favourable critical attention as shown by the two reviews cited below. Yusuf Serunkuma Kajura, a reviewer for The Weekly Observer (Uganda) claimed that Barya's "poetry blossoms on indigenous African imagery, rhetorical devices and ideas, easily comparable to Okot p'Bitek's long poem, Song of Lawino." But Barya's poetry "is an enthusiastic trumpet, subtly blown for the woman in society, unlike Lawino's defence of the traditional African values."Kajura, Y. S. (26 April 2007).

The idea of formal closure and rhetorical devices in a sense of common practice is skewed in the works of John Adams, especially in Short Ride in a Fast Machine. While works of common practice organize material by phrases which are separated by cadential material, this work is in a state of perpetual motion as the additive element of harmonic and rhythmic material drives the work forward. The "gating" concept gives the overall work a sense of sectional design, but the indication of termination through cadence is something that is absent from the work until the very end, which emulates a ii-V-I cadence.Catherine Pellegrino, "Aspects of Closure," 169.

Therefore "homepage" is called "Heimseite", "webpage" is named "Weltnetzseite"' and "bulletin board/forum" is turned into "Brett" (all three English terms are common in current German usage; the translated/transformed German terms are commonly perceived as xenophobic or at least ridiculous in context of information technology). Particular terms, slogans and rhetorical devices used by the NPD and especially by Holger Apfel, their chairperson in the Landtag of Saxony, such as "Grenzen dicht!" ("Close the borders!") are picked up by the Apple Front and get used overly explicitly but are changed in their political message to orcharding and fruit utilization in order to make the original political statements and their representatives appear ridiculous.

Combined with Kennedy's overall usage of rhetorical devices in the Rice University speech, they were particularly apt as a declaration that began the American space race. Kennedy was able to describe a romantic notion of space in the Rice University speech with which all citizens of the United States, and even the world could participate, vastly increasing the number of citizens interested in space exploration. He began by talking about space as the new frontier for all of mankind, instilling the dream within the audience. He then condensed human history to show that within a very brief period of time space travel will be possible, informing the audience that their dream is achievable.

The Review of Contemporary Fiction called Monk's translation "gorgeous and eloquent". The book is the story of the efforts of a French Sergeant, Henri Pollak, and his friends to rescue a fellow soldier from being sent overseas to fight in the Algerian War of Independence. It is written in a rambunctiously comic style, with an exaggerated use of rhetorical devices and a mix of registers, a style inspired by Raymond Queneau and popularized in Zazie in the Metro, and by rhetoric lessons Perec was taking from Roland Barthes. Common rules of grammar and spelling are frequently broken, and even basic conventions such as the consistency of character's names are flouted for humorous effect.

One explanation may be that Hamlet was written later in Shakespeare's life, when he was adept at matching rhetorical devices to characters and the plot. Linguist George T. Wright suggests that hendiadys had been used deliberately to heighten the play's sense of duality and dislocation. Pauline Kiernan argues that Shakespeare changed English drama forever in Hamlet because he "showed how a character's language can often be saying several things at once, and contradictory meanings at that, to reflect fragmented thoughts and disturbed feelings". She gives the example of Hamlet's advice to Ophelia, "get thee to a nunnery", which is simultaneously a reference to a place of chastity and a slang term for a brothel, reflecting Hamlet's confused feelings about female sexuality.

Journal of Pragmatics, 42(11), Voicing is a powerful rhetorical device because the audience can engage in the speech by reacting through chants, cheers, and vocalizations Voicing changes the definitions of roles so that the speaker is not the only active participant. In a January 26, 2008 speech in South Carolina, Obama told three stories of a woman struggling to make ends meet, a man who cannot find work, and a woman who is waiting for her son to return from Iraq. Obama was able to borrow the voices of these Americans in his speeches, making himself the speaker of and an audience member to these stories. Other rhetorical devices Obama used in his campaign speeches were repetition, metaphor, personification, climax, and allusion.

Gracián's style, generically called conceptism, is characterized by ellipsis and the concentration of a maximum of significance in a minimum of form, an approach referred to in Spanish as agudeza (wit), and which is brought to its extreme in the Oráculo Manual y Arte de Prudencia (literally Manual Oracle and Art of Discretion, commonly translated as The Art of Worldly Wisdom), which is almost entirely composed of three hundred maxims with commentary. He constantly plays with words: each phrase becomes a puzzle, using the most diverse rhetorical devices. Its appeal has endured: in 1992, Christopher Maurer's translation of this book remained 18 weeks (2 weeks in first place) in The Washington Post's list of Nonfiction General Best Sellers. It has sold nearly 200,000 copies.

According to Foss, "This definition includes three primary dimensions: (1) systematic analysis of the act of criticism; (2) acts and artifacts as the objects of analysis in criticism; and (3) understanding rhetorical processes as the purpose of criticism". Foss discusses ten different methods of rhetorical criticism in her book "Rhetorical Criticism: Exploration and Practice" saying that each method will produce different insights. Biblical rhetorical criticism makes use of understanding the "forms, genres, structures, stylistic devices and rhetorical techniques" common to the Near Eastern literature of the different ages when the separate books of biblical literature were written. It attempts to discover and evaluate the rhetorical devices, language, and methods of communication used within the texts by focusing on the use of "repetition, parallelism, strophic structure, motifs, climax, chiasm and numerous other literary devices".

The hour-by-hour, day-by-day organization of the novel's body sections suggests, in form as well as function, the nature of the days spent on the cruise ship, vastly repetitive and mundane. By grounding the repetitive activities of the characters in concrete temporal divisions, Faulkner gives structure to what might otherwise seem to be an endless stream of conversation and interaction between various combinations of the yacht's passengers. This intentionally mundane structural system also forces the boat and mundane preoccupations of the passengers (swimming, dancing, eating, etc.) to become a stage and props that serve the characters' primary function as "thinly veiled mouthpieces [that] function as rhetorical devices"Atkinson, 3. through which Faulkner is able to work through major issues that he struggles to understand in his own life.

Corporate jargon Variously known as corporate speak, corporate lingo, business speak, business jargon, management speak, workplace jargon, or commercialese, is the jargon often used in large corporations, bureaucracies, and similar workplaces.[1][2] The use of corporate jargon, also known as "corporatese", is criticised for its lack of clarity as well as for its tedium, making meaning and intention opaque and understanding difficult. Rhetorical Device A Rhetorical device, persuasive device, or stylistic device is a technique that an author or speaker uses to convey to the listener or reader a meaning with the goal of persuading them towards considering a topic from a perspective, using language designed to encourage or provoke an emotional display of a given perspective or action. Rhetorical devices evoke an emotional response in the audience through use of language, but that is not their primary purpose.

In the opinion of J. Thomas Looney, as "far as forms of versification are concerned De Vere presents just that rich variety which is so noticeable in Shakespeare; and almost all the forms he employs we find reproduced in the Shakespeare work."Looney (1948 edition, New York: Duell, Sloan and Pearce), pp. 135–39. Oxfordian Louis P. Bénézet created the "Bénézet test", a collage of lines from Shakespeare and lines he thought were representative of Oxford, challenging non-specialists to tell the difference between the two authors. May notes that Looney compared various motifs, rhetorical devices and phrases with certain Shakespeare works to find similarities he said were "the most crucial in the piecing together of the case", but that for some of those "crucial" examples Looney used six poems mistakenly attributed to Oxford that were actually written by Greene, Campion, and Greville.

Leading to War is a 2008 American documentary film composed entirely of archival news footage of the declarations of the United States President George W. Bush and his administration explaining their reasons to attack Iraq in 2003. The film is presented as a historical record and highlights the rhetorical devices and techniques employed by a government to wage war against another nation. Presented chronologically from President Bush's State of the Union Address in January 2002 (the Axis of evil speech), and continuing up to the announcement of formal U.S. military action in Iraq on March 19, 2003, the film presents selected interviews, speeches, and press conferences given by Bush and his administration, including Vice President Dick Cheney, Secretary of Defense Donald Rumsfeld, Secretary of State Colin Powell, National Security Advisor Condoleezza Rice, Deputy Secretary of Defense Paul Wolfowitz. Non-U.S. sources include British Prime Minister Tony Blair.

Most writers doubt the assertion that the Guiguzi was written by a single personality, Guigu Xiansheng (), who was said in the Records of the Grand Historian to have been the teacher of the late Warring States political lobbyists Su Qin and Zhang Yi. A tradition that Guigu Xiansheng was the teacher of renowned Warring States generals Sun Bin and Pang Juan is also considered to be a late confabulation. The association of the name Wang Xu () is not generally held to be supported. There is no material in the text to support the view held by some that Guiguzi is a book on military tactics. The contents of the Guiguzi text cover the relationship between lobbying techniques and the theory of yin and yang, techniques of political evaluation of the state, evaluation of political relationships between state leaders and ministers, psychological profiling of lobbying targets and rhetorical devices.

Continuations, 229 This suggests Wulfstan's writing is not only eloquent, but poetic, and among many of his rhetorical devices, another is marked rhythm (229). Taking a look at Wulfstan's actual manuscripts, presented by Volume 17 of Early English Manuscripts in Facsimile, it becomes apparent that his writing was exceptionally neat and well- structured – even his notes in the margins are well-organized and tidy, and his handwriting itself is ornate but readable. Wulfstan's style is highly admired by many sources, easily recognizable and exceptionally distinguished. “Much Wulfstan material is, more-over, attributed largely or even solely on the basis of his highly idiosyncratic prose style, in which strings of syntactically independent two-stress phrases are linked by complex patterns of alliteration and other kinds of sound play. Indeed, so idiosyncratic is Wulfstan’s style that he is even ready to rewrite minutely works prepared for him by Ǣlfric”.

Cohen's last book States of Denial: Knowing about Atrocities and Suffering attempts to analyze personal and political ways in which humans avoid uncomfortable realities, like poverty, suffering, injustice. In 11 chapters he examines elementary forms of denial, Knowing and Not-Knowing: The Psychology of Denial (How could people simultaneously know and not know about such matters?), Denial at Work: Mechanisms and Rhetorical Devices, Accounting for Atrocities: Perpetrators and Officials, Blocking Out the Past: Personal Memories, Public Histories, Bystander States (Though ignorance is bliss, to what extent is a bystander a perpetrator?, Images of Suffering, Appeals: Outrage Into Action, Digging Up Graves, Opening Wounds: Acknowledging the Past, Acknowledgement Now (societal and personal transformation) and concludes with Loose Ends.States of Denial: Knowing about Atrocities and Suffering Polity Book details, undated, retrieved 30 September 2015 The book has been highly praised by reviewers in the English speaking world.

In a scientific question, evidence can be adduced on > both sides, and, in the end, one side is seen to have the better case—or, if > this does not happen, the question is left undecided. But in a question, as > to whether this, or that, is the ultimate Good, there is no evidence, either > way; each disputant can only appeal to his own emotions, and employ such > rhetorical devices as shall arouse similar emotions in others ... Questions > as to "values"—that is to say, as to what is good or bad on its own account, > independently of its effects—lie outside the domain of science, as the > defenders of religion emphatically assert. I think that, in this, they are > right, but, I draw the further conclusion, which they do not draw, that > questions as to "values" lie wholly outside the domain of knowledge. That is > to say, when we assert that this, or that, has "value", we are giving > expression to our own emotions, not to a fact, which would still be true if > our personal feelings were different.

Conspiracy theories involving GMOs and their promoters have been invoked in a variety of contexts. For example, in commenting on the Séralini affair, an incident that involved the retraction of a much-criticized paper which claimed harmful effects of GMOs in lab rats, American biologist PZ Myers said that anti-GMO activists were claiming the retraction was a part of "a conspiracy to Hide the Truth™". A work seeking to explore risk perception over GMOs in Turkey identified a belief among the conservative political and religious figures who were opposed to GMOs that GMOs were "a conspiracy by Jewish Multinational Companies and Israel for world domination" while a Latvian study showed that a segment of the population of that country believed that GMOs were part of a greater conspiracy theory to poison the population of the country. A study of media rhetorical devices used in Hunan, China found that the news articles that were opposed to trials of golden rice promoted conspiracy theories "including the view that the West was using genetic engineering to establish global control over agriculture and that GM products were instruments for genocide".

Some of the devices named are: (passing note dissonances), (melodic imitation of varying kinds), (the repetition of a section for dramatic effect), climax (passages in parallel thirds or tenths), (the reprise of an opening passage at the end to make a cohesive statement), (the dramatic use of silence by inserting a sudden rest for rhetorical effect) (in this Nucius is one of the first music theorists to recognize the powerful musical use of silence, an idea which was to attain fame in modern times in the work of John Cage), and (syncopation, for rhythmic enhancement). All of these devices are presented with suggestions for their employment, with examples of texts they can set effectively. Nucius, though he represented an aspect of early Baroque practice, looked mainly to the past—and sometimes the distant past—for his examples of rhetorical devices in music. He considered John Dunstaple to be the earliest composer of expressive music (though earlier music may not have been available to him), and other composers he wrote about included Gilles Binchois, Antoine Busnois, Johannes Ockeghem, Heinrich Isaac, Ludwig Senfl, Josquin des Prez, and of course Lassus.