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GLOSSARY OF TECHNIQUES USED TO CREATE MEANING
Active voice/passive voice
Writing that uses the forms of verbs which create a direct relationship between the subject and the object. Active voice is lively and more direct.
Eg. ‘We had fun’ is written in the active voice; ‘Fun was had’ is written in the passive voice.
Alliteration
The repetition of the consonant sounds at the beginnings of words. It is used to produce sound that adds to the atmosphere or mood of the words, or perhaps even echoes their meaning.
Eg. ‘The fair breeze blew, the white foam flew,
The furrow followed free’
(from The Rime of the Ancient Mariner by Samual Taylor Coleridge.)
Allusion
A reference to another text. This is usually used to clarify an idea or enhance meaning.
Eg. The playful advertisement for a brand of bathers showed pictures of their new products with the voice-
over warning us: ‘just when you thought it was safe to go back in the water ….’ Most people in the
TV audience understood the allusion to the promotional line to the film Jaws 2 and laughed (or at least
smiled).
Ambiguity
A word or phrase that invites at least two interpretations.
Eg. In act 2, scene 2 of Shakespeare’s Hamlet, the prince deliberately misinterprets Polonius’s words (not
taking ‘matter’ to mean ‘printed matter’ but ‘problem’):
Polonius: What do you read my lord?
Hamlet: Words, words, words!
Polonius: What is the matter, my lord?
Hamlet: Between who?
Polonius: I mean the matter that you read, my lord.
Analogy
A comparison made between two things that share something in common.
Eg. Seamus Heaney, in his poem Digging, compares his pen to a spade and makes us think again about
the way his poetry works by concluding: ‘Ill dig with it’.
Anecdote/anecdotal evidence
A small story, usually based on an individual case that illustrates a point. Often used to introduce feature articles and essays and thought of as a poor substitute for ‘real evidence’.
Eg. A feature article about grandparents who have lost their grandchildren may begin like this:
‘It all began when my daughter, Kris, went to visit a remote Greek island for three days ….’
An argument in favour of smoking may rely on anecdotal evidence like this:
‘My grandfather smoked for 47 years and he never developed cancer .…’
Anticlimax
A point in narrative that promises to be the climax and then fails to deliver. Problems are not resolved, the truth is not revealed, things don’t turn out the way we expected them to and a sense of disappointment is felt.
Antithesis
Setting up an opposition of contrasting ideas in a phrase or sentence.
Eg. ‘Help yourself, and Heaven will help you’ and ‘Marriage has many pains, but celibacy has no
pleasures’.
Aphorism
A short and pithy (tense; forcible) statement.
Eg. ‘Knowledge is power’.
Aside
Words or lines spoken for the benefit of the audience or a particular character but which other characters on stage cannot hear. The lines reveal the chara
cter’s thoughts, feelings or motivations.
Assonance
The repetition of a vowel sound to sound out or to create a particular effect.
Eg. ‘Those who have seen thee seeking know thee well’. The ‘ee’ sound in ‘seen’, ‘thee’ and ‘seek’ are in
assonance and create a pleasant effect on the ear.
The repetition of the ‘o’ in Seamus Heaney’s poem, Death of a Naturalist lengthens the sound of each
line and slows down its pace.
‘Right down the dam gross-bellied frogs were
cocked
On sods; their loose necks pulsed like sails,
Some hopped:
The slap and plop were obscene threats ….’
Atmosphere
The mood created by the language of a text.
Eg. ‘Then, the house was grand … now, the walls are scribbled upon and scarred … the rails are rusted …
the lino is rucked and split like wounds.’ The words ‘rusted’, ‘rucked’ and ‘split’ create a feeling of
neglect and decay. Underneath this, words like ‘scarred’ and ‘wounds’ suggest a sense of threat and
possible violence.
Audience
Those to whom a text is addressed.
Bathos
An attempt at passionate or lofty (elevated in sentiment) writing that overshoots the mark and produces, instead, a comic or trivial effect.
Eg. ‘I am ready to sacrifice myself’, she declared, ‘for God, my country and my suburb!’
Bias
A leaning to one side of an argument by deliberately distorting the evidence. Usually provides an unbalanced view.
Camera position
The physical location of the camera at the time of shooting, including focus, framing and angle of shot. This influences the audience’s response to the scene and its subject/s etc.
Caricature
The depiction of a character which exaggerates one or two of their qualities for the purposes of making fun of them.
Cliché
A phrase or expression that has been worn out by overuse.
Eg. When a sportsperson is asked how they rate their chances in a competition they often give the clichéd
response, ‘I’ll just take it one game at a time’.
Climax
The part of a narrative or drama at which the crisis point is reached. Usually occurs towards the end of most texts, after which the problems raised earlier on can be resolved and the text can end with a sense of having been properly worked out.
Colloquial
In the manner of everyday speech. Casual, relaxed, neither slang nor formal.
Connotation/denotation
The denotations of a word are its primary meanings, the ones found in the dictionary. The connotations of a word are the associations we make with the word.
Eg. ‘Mouse’ denotes a small rodent. However, its connotations may be, for one person, ‘loveable pet’;
another may see it as ‘laboratory specimen’; and yet another may respond with fright regarding
‘mouse’ as ‘an alarming pest’.
Context
The surrounding circumstances.
Descriptive language
Language that creates a vivid (clear) picture of an object or scene through diction (choice of words, phrases or images in a text).
Dialogue
Speech between characters in a narrative or drama. Often reveals thoughts, feelings, motivations, prejudices and fears of speakers or characters.
.
Direct speech
The speech of characters in a narrative presented directly and identified by the use of inverted commas. The alternative is reported or indirect speech in which case the narrator explains what the character said and thus there is no need to use inverted commas. Direct speech is usually more dramatic because it provides the impression that it is more immediate.
Ellipsis
The omission of one or more words in a sentence, indicated by the use of three consecutive dots or stops. Often used when quoting another text to cut down the length of the quote.
Emotive Language
Words or phrases that evoke an emotional response and strongly position readers in relation to a subject.
Eg. A reporter writing about an air crash may use emotive language to describe the bodies at the site –
‘contorted’ or ‘severed limbs’, and ‘the stench of burning flesh’ to shock us.
Empathy
The involuntary association of a reader with a character or object in a text causing a physical reaction in the reader.
Eg. Viewers of the film Saving Private Ryan (Spielberg, 1998) may have found themselves flinching or
even ducking for cover in the Normandy beach landing scene.
Emphasis
Stress laid upon and importance given to a word or phrase in a sentence or paragraph. Usually indicated by placing the words to be emphasized in bold or italic type.
Epigram
A short statement containing wit, and often humour.
Eg. ‘I can resist everything except temptation’. (Oscar Wilde)
‘God made women beautiful so men would love them; and he made them stupid so that they could love
men’. (La Belle Otero – 19th century courtesan)
Euphemism
A phrase or word substituted for one which is considered tasteless or too blunt.
Eg. ‘To pass away’ is a euphemism for ‘to die’.
Figurative language
Language that exceeds the literal meanings of words to achieve a special meaning or effect. Some of the most common ‘figures of speech’ are simile, metaphor and personification.
Form
The shape, style and structure of a text-as opposed to its content.
Homily
A sermon or written text intended to instruct and improve the audience morally.
Hyperbole
A figure of speech that presents an overstatement or exaggeration for emphasis.
Eg. Macbeth (Act 5, scene 1) - Lady Macbeth: Here’s the smell of blood still.
All the perfumes of Arabia will
not sweeten this little hand ….
Ideology
A way of thinking about the world and people, including beliefs, values and attitudes.
Idiom
Phrases that mean something other than the logical or grammatical meaning that one would normally expect from the combination of words.
Eg. ‘Neither here nor there’, ‘give us a break’, ‘no worries’.
Imagery
Occurs in the form of pictures conjured by a text in a reader’s imagination, the appeals made to the senses in a text, and the figurative language used in a text, that is, the similes, metaphors, personification, onomatopoeia etc.
Inference
The process of drawing a conclusion from data or evidence. Usually allows readers to make judgments about characters or events from a limited amount of information.
Intertextuality
The interdependence of texts. Texts often make references to other texts (allusion), either by direct reference or quotation, or indirectly by paraphrase or imitation to clarify ideas or enhance meaning.
Eg. The feature film Shakespeare in Love is connected to many other texts, but most noticeably to the play
Romeo and Juliet. Romeo and Juliet is based upon a feud between two noble families; the film
Shakespeare in Love is based on the rivalry between two London playhouses.
Irony
The condition created by the difference between what is stated and what is actually the case. Verbal irony refers to saying the opposite of what you mean. Situational irony occurs when there is a difference between what is reported and what we would expect in that situation.
Jargon
The special vocabulary of particular trades or professions.
Juxtaposition
Setting one thing beside another, usually to make a contrast and emphasise or highlight some particular aspect.
Eg. In Robert Frost’s poem Out, Out- the beauty of the scenery is juxtaposed with the long and difficult
hours of work that the young boy has to endure. This contrast highlights the lack of time he has for
leisure or rest.
Meaning
The connecting of one idea with another.
Melodrama
Dramas that rely on improbable events and sensational action to evoke strong emotional responses in the audience.
Metaphor
A figure of speech in which one thing is described in terms of another. The connection is implicit, whereas in a simile, the connection is made explicitly.
Eg. One writer described erotic literature with this striking metaphor-
‘a moral vulture which steals upon our youth, silently striking its terrible talons into their vitals, and
forcibly bearing them away on hideous wings to shame and death’. (Anthony Comstock)
Monologue
A speech by a single person. They may be alone or they may have an audience.
Moral
The lesson to be learned from a story or poem.
Motif
Any element that recurs frequently in a literary text that can help to develop and inform the text’s major theme.
Eg. George Orwell’s Animal Farm (a satire of the Russian Revolution) is filled with songs poems and
slogans to serve as propaganda, one of the major aspects of social control.
Objective/subjective
Objectivity means being able to maintain a distance and detachment from the subject matter. This means that a writer’s (or reader’s) feelings or prejudices will not affect the way an issue is presented in a text.
A subjective text is one in which we are invited to think of the persona, the ‘I’, as the author.
Onomatopoeia
A figure of speech in which the sound of the word is an echo of its sense.
Eg. Whoosh, splat, pop, bang.
Oxymoron
A figure of speech in which two opposites are combined for a striking effect.
Eg. ‘A terrible beauty is born’ from W.B. Yeats’s Easter 1916.
Paradox
A statement that is apparently self-contradictory but still holds an attractive truth.
Eg. Hamlet says: ‘I must be cruel to be kind’.
Parenthesis
A word or phrase inserted into an already complete sentence, to clarify an idea. This is usually done with brackets (although dashes can also be used).
Parody
An imitation of another text in order to send it up or make it appear ridiculous. The imitation usually works by exaggerating a particular aspect (subject matter, style, tone or vocabulary) of the original text, provoking amusement in readers.
Pathos
The feeling of pity and sorrow evoked by tragedy.
Persona
The personality or mask adopted by a writer in a particular text.
Personification
A figure of speech that gives human qualities to objects or ideas.
Eg. The statue of liberty in New York Harbour personifies the ideas of justice, truth and balance with her
lifted scales.
Propaganda
Texts devoted to the purpose of spreading a particular idea or belief.
Purpose
What the text is trying to achieve.
Realism
An attempt to present the real world in text
Repetition
Repeating a sound, word, phrase, line or idea to provide emphasis and raise importance of the ideas expressed.
Representation
A construction in a text that tries to reflect some part of the real world, literally ‘presenting again’ in order to challenge or support current cultural attitudes and beliefs.
Eg. Blue Heelers is a representation of part of the Australian police force. It is a construction because
these pictures are not the real Australian police but one writer’s (or TV production group’s) version of
them.
Resolution
The events following the climax of a play or story in which the conflicts and problems raised by the plot are resolved or worked out.
Rhetoric
The art of using language to persuade an audience.
Rhetorical question
A question that does not require an answer because the speaker or writer already assumes that the answer is obvious by the context in which the question is asked. The audience is persuaded by positioning them in ways that they cannot easily challenge.
Eg. See how you are positioned by this speaker who asks. ‘Are we going to stand silent while our rights
are ignored?’
Rhyme
The occurrence of similar sounds in lines of verse to provide a pleasant musical effect and to bind the lines together, thus providing structure.
Sarcasm
The use of praise in a tone that clearly implies criticism.
Eg. ‘Well done! This is the second time you’ve turned up to class on time this year!’
Satire
A text that uses humour and exaggeration to criticise human foibles. Satire works to portray individuals, groups or institutions as ridiculous. Unlike comedy, the final purpose of satire is to provoke thought and political change.
Eg. Muriel’s Wedding satirises much of the ugly side of Australian middle-class family life.
Setting
The place and context (social, historical, physical, moral, psychological etc.) in which the events of a story occur.
Simile
A figure of speech in which an object is compared to another in one particular aspect. This comparison is set up by using ‘like’ or ‘as _______ as’.
Eg. Wilfred Owen describes soldiers in the opening line of Dulce Et Decorum Est:
Bent double, like old beggars under sacks.
Slang
A register of language associated with a particular location or occupation, more localised, more colourful, often considered more common than colloquial or formal language.
Soliloquy
A speech in which a character who is usually alone on stage delivers their thoughts and feelings on an issue. This ‘pouring out of the heart’ by a character evokes sympathy from the audience.
Stereotypes
Models or templates for a particular kind of character. Stereotypes often define groups in very narrow terms such as ‘dumb blond’ or the ‘romantic Frenchman’. Stereotypes can be damaging and divisive when they become the main way of thinking about a group of people.
Suspense
A technique used to keep readers wondering about the outcomes of events in a story. Creates a feeling of tension and anticipation in the reader. There are two kinds of suspense-that connected with causality (whodunit?) and that connected with temporality (what will happen next?).
Symbol/Symbolism
An object that stands for something else.
Eg. The cross stands for Christianity.
Theme
The central idea of a text.
Tone
The way language is used to reflect attitudes to the subject matter and the readers. If the text is spoken (or imagined as spoken) then the volume, pitch, emphasis and intonation will carry the tone. Readers and listeners will judge tone from past experience and contextual clues. Words used to describe tone include: serious, sombre, ironic, satiric, parodic, bitter, sarcastic, melodramatic, cynical, critical, knowledgeable, excited, mournful, forceful, wise, guarded, proud, sincere, light-hearted, didactic and flippant.
Eg. Faye Weldon’s Female Friends (1975) is either being serious and melodramatic in tone, or parodic and
not taking the characters seriously. Readers will decide what is the case from the surrounding text.
Understatement
Representing something as much less in magnitude or importance than it really is.
Eg. Mark Twain’s comment ‘The reports of my death are greatly exaggerated’.
Voice
The sense of personality and intelligence behind the words of a text. (Similar to persona or narrator).
Wit
The ability to express a fine idea with precision and perhaps humour. Subtle and clever, as in ‘a witty remark’.
Others
First Person Perspective Creates feelings of immediacy
Second Person Perspective Engages the reader or responder
Rhyme scheme Appeals to senses
Use of colloquialism/
Dialogues Brings closer to reality
Assonance Thinking, contemplating, a pause in thought-process
Repetition To reinforce something
GLOSSARY OF TECHNIQUES USED TO CREATE MEANING
Active voice/passive voice
Writing that uses the forms of verbs which create a direct relationship between the subject and the object. Active voice is lively and more direct.
Eg. ‘We had fun’ is written in the active voice; ‘Fun was had’ is written in the passive voice.
Alliteration
The repetition of the consonant sounds at the beginnings of words. It is used to produce sound that adds to the atmosphere or mood of the words, or perhaps even echoes their meaning.
Eg. ‘The fair breeze blew, the white foam flew,
The furrow followed free’
(from The Rime of the Ancient Mariner by Samual Taylor Coleridge.)
Allusion
A reference to another text. This is usually used to clarify an idea or enhance meaning.
Eg. The playful advertisement for a brand of bathers showed pictures of their new products with the voice-
over warning us: ‘just when you thought it was safe to go back in the water ….’ Most people in the
TV audience understood the allusion to the promotional line to the film Jaws 2 and laughed (or at least
smiled).
Ambiguity
A word or phrase that invites at least two interpretations.
Eg. In act 2, scene 2 of Shakespeare’s Hamlet, the prince deliberately misinterprets Polonius’s words (not
taking ‘matter’ to mean ‘printed matter’ but ‘problem’):
Polonius: What do you read my lord?
Hamlet: Words, words, words!
Polonius: What is the matter, my lord?
Hamlet: Between who?
Polonius: I mean the matter that you read, my lord.
Analogy
A comparison made between two things that share something in common.
Eg. Seamus Heaney, in his poem Digging, compares his pen to a spade and makes us think again about
the way his poetry works by concluding: ‘Ill dig with it’.
Anecdote/anecdotal evidence
A small story, usually based on an individual case that illustrates a point. Often used to introduce feature articles and essays and thought of as a poor substitute for ‘real evidence’.
Eg. A feature article about grandparents who have lost their grandchildren may begin like this:
‘It all began when my daughter, Kris, went to visit a remote Greek island for three days ….’
An argument in favour of smoking may rely on anecdotal evidence like this:
‘My grandfather smoked for 47 years and he never developed cancer .…’
Anticlimax
A point in narrative that promises to be the climax and then fails to deliver. Problems are not resolved, the truth is not revealed, things don’t turn out the way we expected them to and a sense of disappointment is felt.
Antithesis
Setting up an opposition of contrasting ideas in a phrase or sentence.
Eg. ‘Help yourself, and Heaven will help you’ and ‘Marriage has many pains, but celibacy has no
pleasures’.
Aphorism
A short and pithy (tense; forcible) statement.
Eg. ‘Knowledge is power’.
Aside
Words or lines spoken for the benefit of the audience or a particular character but which other characters on stage cannot hear. The lines reveal the chara
cter’s thoughts, feelings or motivations.
Assonance
The repetition of a vowel sound to sound out or to create a particular effect.
Eg. ‘Those who have seen thee seeking know thee well’. The ‘ee’ sound in ‘seen’, ‘thee’ and ‘seek’ are in
assonance and create a pleasant effect on the ear.
The repetition of the ‘o’ in Seamus Heaney’s poem, Death of a Naturalist lengthens the sound of each
line and slows down its pace.
‘Right down the dam gross-bellied frogs were
cocked
On sods; their loose necks pulsed like sails,
Some hopped:
The slap and plop were obscene threats ….’
Atmosphere
The mood created by the language of a text.
Eg. ‘Then, the house was grand … now, the walls are scribbled upon and scarred … the rails are rusted …
the lino is rucked and split like wounds.’ The words ‘rusted’, ‘rucked’ and ‘split’ create a feeling of
neglect and decay. Underneath this, words like ‘scarred’ and ‘wounds’ suggest a sense of threat and
possible violence.
Audience
Those to whom a text is addressed.
Bathos
An attempt at passionate or lofty (elevated in sentiment) writing that overshoots the mark and produces, instead, a comic or trivial effect.
Eg. ‘I am ready to sacrifice myself’, she declared, ‘for God, my country and my suburb!’
Bias
A leaning to one side of an argument by deliberately distorting the evidence. Usually provides an unbalanced view.
Camera position
The physical location of the camera at the time of shooting, including focus, framing and angle of shot. This influences the audience’s response to the scene and its subject/s etc.
Caricature
The depiction of a character which exaggerates one or two of their qualities for the purposes of making fun of them.
Cliché
A phrase or expression that has been worn out by overuse.
Eg. When a sportsperson is asked how they rate their chances in a competition they often give the clichéd
response, ‘I’ll just take it one game at a time’.
Climax
The part of a narrative or drama at which the crisis point is reached. Usually occurs towards the end of most texts, after which the problems raised earlier on can be resolved and the text can end with a sense of having been properly worked out.
Colloquial
In the manner of everyday speech. Casual, relaxed, neither slang nor formal.
Connotation/denotation
The denotations of a word are its primary meanings, the ones found in the dictionary. The connotations of a word are the associations we make with the word.
Eg. ‘Mouse’ denotes a small rodent. However, its connotations may be, for one person, ‘loveable pet’;
another may see it as ‘laboratory specimen’; and yet another may respond with fright regarding
‘mouse’ as ‘an alarming pest’.
Context
The surrounding circumstances.
Descriptive language
Language that creates a vivid (clear) picture of an object or scene through diction (choice of words, phrases or images in a text).
Dialogue
Speech between characters in a narrative or drama. Often reveals thoughts, feelings, motivations, prejudices and fears of speakers or characters.
.
Direct speech
The speech of characters in a narrative presented directly and identified by the use of inverted commas. The alternative is reported or indirect speech in which case the narrator explains what the character said and thus there is no need to use inverted commas. Direct speech is usually more dramatic because it provides the impression that it is more immediate.
Ellipsis
The omission of one or more words in a sentence, indicated by the use of three consecutive dots or stops. Often used when quoting another text to cut down the length of the quote.
Emotive Language
Words or phrases that evoke an emotional response and strongly position readers in relation to a subject.
Eg. A reporter writing about an air crash may use emotive language to describe the bodies at the site –
‘contorted’ or ‘severed limbs’, and ‘the stench of burning flesh’ to shock us.
Empathy
The involuntary association of a reader with a character or object in a text causing a physical reaction in the reader.
Eg. Viewers of the film Saving Private Ryan (Spielberg, 1998) may have found themselves flinching or
even ducking for cover in the Normandy beach landing scene.
Emphasis
Stress laid upon and importance given to a word or phrase in a sentence or paragraph. Usually indicated by placing the words to be emphasized in bold or italic type.
Epigram
A short statement containing wit, and often humour.
Eg. ‘I can resist everything except temptation’. (Oscar Wilde)
‘God made women beautiful so men would love them; and he made them stupid so that they could love
men’. (La Belle Otero – 19th century courtesan)
Euphemism
A phrase or word substituted for one which is considered tasteless or too blunt.
Eg. ‘To pass away’ is a euphemism for ‘to die’.
Figurative language
Language that exceeds the literal meanings of words to achieve a special meaning or effect. Some of the most common ‘figures of speech’ are simile, metaphor and personification.
Form
The shape, style and structure of a text-as opposed to its content.
Homily
A sermon or written text intended to instruct and improve the audience morally.
Hyperbole
A figure of speech that presents an overstatement or exaggeration for emphasis.
Eg. Macbeth (Act 5, scene 1) - Lady Macbeth: Here’s the smell of blood still.
All the perfumes of Arabia will
not sweeten this little hand ….
Ideology
A way of thinking about the world and people, including beliefs, values and attitudes.
Idiom
Phrases that mean something other than the logical or grammatical meaning that one would normally expect from the combination of words.
Eg. ‘Neither here nor there’, ‘give us a break’, ‘no worries’.
Imagery
Occurs in the form of pictures conjured by a text in a reader’s imagination, the appeals made to the senses in a text, and the figurative language used in a text, that is, the similes, metaphors, personification, onomatopoeia etc.
Inference
The process of drawing a conclusion from data or evidence. Usually allows readers to make judgments about characters or events from a limited amount of information.
Intertextuality
The interdependence of texts. Texts often make references to other texts (allusion), either by direct reference or quotation, or indirectly by paraphrase or imitation to clarify ideas or enhance meaning.
Eg. The feature film Shakespeare in Love is connected to many other texts, but most noticeably to the play
Romeo and Juliet. Romeo and Juliet is based upon a feud between two noble families; the film
Shakespeare in Love is based on the rivalry between two London playhouses.
Irony
The condition created by the difference between what is stated and what is actually the case. Verbal irony refers to saying the opposite of what you mean. Situational irony occurs when there is a difference between what is reported and what we would expect in that situation.
Jargon
The special vocabulary of particular trades or professions.
Juxtaposition
Setting one thing beside another, usually to make a contrast and emphasise or highlight some particular aspect.
Eg. In Robert Frost’s poem Out, Out- the beauty of the scenery is juxtaposed with the long and difficult
hours of work that the young boy has to endure. This contrast highlights the lack of time he has for
leisure or rest.
Meaning
The connecting of one idea with another.
Melodrama
Dramas that rely on improbable events and sensational action to evoke strong emotional responses in the audience.
Metaphor
A figure of speech in which one thing is described in terms of another. The connection is implicit, whereas in a simile, the connection is made explicitly.
Eg. One writer described erotic literature with this striking metaphor-
‘a moral vulture which steals upon our youth, silently striking its terrible talons into their vitals, and
forcibly bearing them away on hideous wings to shame and death’. (Anthony Comstock)
Monologue
A speech by a single person. They may be alone or they may have an audience.
Moral
The lesson to be learned from a story or poem.
Motif
Any element that recurs frequently in a literary text that can help to develop and inform the text’s major theme.
Eg. George Orwell’s Animal Farm (a satire of the Russian Revolution) is filled with songs poems and
slogans to serve as propaganda, one of the major aspects of social control.
Objective/subjective
Objectivity means being able to maintain a distance and detachment from the subject matter. This means that a writer’s (or reader’s) feelings or prejudices will not affect the way an issue is presented in a text.
A subjective text is one in which we are invited to think of the persona, the ‘I’, as the author.
Onomatopoeia
A figure of speech in which the sound of the word is an echo of its sense.
Eg. Whoosh, splat, pop, bang.
Oxymoron
A figure of speech in which two opposites are combined for a striking effect.
Eg. ‘A terrible beauty is born’ from W.B. Yeats’s Easter 1916.
Paradox
A statement that is apparently self-contradictory but still holds an attractive truth.
Eg. Hamlet says: ‘I must be cruel to be kind’.
Parenthesis
A word or phrase inserted into an already complete sentence, to clarify an idea. This is usually done with brackets (although dashes can also be used).
Parody
An imitation of another text in order to send it up or make it appear ridiculous. The imitation usually works by exaggerating a particular aspect (subject matter, style, tone or vocabulary) of the original text, provoking amusement in readers.
Pathos
The feeling of pity and sorrow evoked by tragedy.
Persona
The personality or mask adopted by a writer in a particular text.
Personification
A figure of speech that gives human qualities to objects or ideas.
Eg. The statue of liberty in New York Harbour personifies the ideas of justice, truth and balance with her
lifted scales.
Propaganda
Texts devoted to the purpose of spreading a particular idea or belief.
Purpose
What the text is trying to achieve.
Realism
An attempt to present the real world in text
Repetition
Repeating a sound, word, phrase, line or idea to provide emphasis and raise importance of the ideas expressed.
Representation
A construction in a text that tries to reflect some part of the real world, literally ‘presenting again’ in order to challenge or support current cultural attitudes and beliefs.
Eg. Blue Heelers is a representation of part of the Australian police force. It is a construction because
these pictures are not the real Australian police but one writer’s (or TV production group’s) version of
them.
Resolution
The events following the climax of a play or story in which the conflicts and problems raised by the plot are resolved or worked out.
Rhetoric
The art of using language to persuade an audience.
Rhetorical question
A question that does not require an answer because the speaker or writer already assumes that the answer is obvious by the context in which the question is asked. The audience is persuaded by positioning them in ways that they cannot easily challenge.
Eg. See how you are positioned by this speaker who asks. ‘Are we going to stand silent while our rights
are ignored?’
Rhyme
The occurrence of similar sounds in lines of verse to provide a pleasant musical effect and to bind the lines together, thus providing structure.
Sarcasm
The use of praise in a tone that clearly implies criticism.
Eg. ‘Well done! This is the second time you’ve turned up to class on time this year!’
Satire
A text that uses humour and exaggeration to criticise human foibles. Satire works to portray individuals, groups or institutions as ridiculous. Unlike comedy, the final purpose of satire is to provoke thought and political change.
Eg. Muriel’s Wedding satirises much of the ugly side of Australian middle-class family life.
Setting
The place and context (social, historical, physical, moral, psychological etc.) in which the events of a story occur.
Simile
A figure of speech in which an object is compared to another in one particular aspect. This comparison is set up by using ‘like’ or ‘as _______ as’.
Eg. Wilfred Owen describes soldiers in the opening line of Dulce Et Decorum Est:
Bent double, like old beggars under sacks.
Slang
A register of language associated with a particular location or occupation, more localised, more colourful, often considered more common than colloquial or formal language.
Soliloquy
A speech in which a character who is usually alone on stage delivers their thoughts and feelings on an issue. This ‘pouring out of the heart’ by a character evokes sympathy from the audience.
Stereotypes
Models or templates for a particular kind of character. Stereotypes often define groups in very narrow terms such as ‘dumb blond’ or the ‘romantic Frenchman’. Stereotypes can be damaging and divisive when they become the main way of thinking about a group of people.
Suspense
A technique used to keep readers wondering about the outcomes of events in a story. Creates a feeling of tension and anticipation in the reader. There are two kinds of suspense-that connected with causality (whodunit?) and that connected with temporality (what will happen next?).
Symbol/Symbolism
An object that stands for something else.
Eg. The cross stands for Christianity.
Theme
The central idea of a text.
Tone
The way language is used to reflect attitudes to the subject matter and the readers. If the text is spoken (or imagined as spoken) then the volume, pitch, emphasis and intonation will carry the tone. Readers and listeners will judge tone from past experience and contextual clues. Words used to describe tone include: serious, sombre, ironic, satiric, parodic, bitter, sarcastic, melodramatic, cynical, critical, knowledgeable, excited, mournful, forceful, wise, guarded, proud, sincere, light-hearted, didactic and flippant.
Eg. Faye Weldon’s Female Friends (1975) is either being serious and melodramatic in tone, or parodic and
not taking the characters seriously. Readers will decide what is the case from the surrounding text.
Understatement
Representing something as much less in magnitude or importance than it really is.
Eg. Mark Twain’s comment ‘The reports of my death are greatly exaggerated’.
Voice
The sense of personality and intelligence behind the words of a text. (Similar to persona or narrator).
Wit
The ability to express a fine idea with precision and perhaps humour. Subtle and clever, as in ‘a witty remark’.
Others
First Person Perspective Creates feelings of immediacy
Second Person Perspective Engages the reader or responder
Rhyme scheme Appeals to senses
Use of colloquialism/
Dialogues Brings closer to reality
Assonance Thinking, contemplating, a pause in thought-process
Repetition To reinforce something
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This is also called Textual Analysis.