revision-1

1. Assonance

• the similarity in sound between two syllables
that are close together, created by the same
vowels but different consonants (e.g. "back" and
"hat"), or by the same consonants and different
vowels (e.g. "hit" and "hat")

2. Understatement

•a figure of speech employed by writers or
speakers to intentionally make a situation
seem less important than it really is.

3. Periphrasis

• a very peculiar stylistic device which basically
consists of using a roundabout form of
expression instead of a simpler one,
• i.e. of using a more or less complicated
syntactical structure instead of a word.

4. Hyperbole

•The car which picked me up on that
particular guilty evening was a Cadillac
limousine about seventy-three blocks long.

5. Asyndeton

•We saw no houses, no smoke, no footprints,
no boats, no people.

6. Metaphor

•When my soul was in the lost and found
You came along to claim it

7. Irony

•a stylistic device in which the contextual
evaluative meaning of a word is directly
opposite to its dictionary meaning

8. Phrase epithet

•He acknowledged an early-afternoon
customer with a be-with-you-in-a-minute
nod.

9. Understatement

•“I’ve got a nice place here,” he said, his eyes
flashing about restlessly.
•Turning me around by one arm, he moved a
broad flat hand along the front vista, including
in its sweep a sunken Italian garden, a half acre
of deep, pungent roses, and a snub-nosed
motor-boat that bumped the tide offshore.

10. Reversed/inverted epithet

•“a little Flying Dutchman of a cab”

11. Anadiplosis

Once you change your philosophy, you
change your thought pattern. Once you
change your thought pattern, you change
your attitude. Once you change your
attitude, it changes your behavior pattern
and then you go on into some action.

12. Metaphor

They walked along, two continents of
experience and feeling, unable to
communicate.

13. Zeugma

The farmers in the valley grew potatoes,
peanuts, and bored.

14. Anticlimax

In moments of crisis I size up the situation in a
flash, set my teeth, contract my muscles, take a
firm grip on myself and, without a tremor,
always do the wrong thing

15. Climax

semantically complicated parallelism, in
which each next word combination (clause,
sentence) is logically more important or
emotionally stronger and more explicit

16. Metaphor

transference of names based on the
associated likeness between two objects;
when the author identifies two objects which
have nothing in common, but in which he
subjectively sees a function, or a property, or
a feature, or a quality that may make the
reader perceive these two objects as identical

17. Anticlimax

the chain of word combinations, sentences
of clauses suddenly interrupted by an
unexpected turn of the thought which defeats
expectations of the reader (listener) and ends
in complete semantic reversal of the
emphasized idea

18. Graphon

19. Metonymy

She saw around her, clustered about the
white tables, multitudes of violently red lips,
powdered cheeks, cold, hard eyes, selfpossessed arrogant faces, and insolent
bosoms.

20. Zeugma

She went home, in a flood of tears and a
sedan chair

21. Periphrasis

When I saw him again, there were silver
dollars weighting down his eyes.

22. Metaphor

She thought of the vast heat that rose above
the house and park, suffocating the farms
and towns.

23. Assonance

Though why should I whine,
Whine that the crime was other than mine?

24. Hyperbole

The lake was so still and clear that you could
see through it down to the center of the
Earth.

25. Metaphor

Art washes away from the soul the dust of
everyday life.

26. Zeugma

The family trip was so hectic that by the end
Lola had lost her patience and her car keys

27. Periphrasis

She was still fat after childbirth; the
destroyer of her figure sat at the head of the
table.

28. Anaphora

Indifference elicits no response. Indifference
is not a response. Indifference is not a
beginning; it is an end.

29. Onomatopoeia

Boing!
Liam bounced the ball off the wall
over and over.
Boing!

30. Hyperbole

Chris won’t drive her home because she
lives on the other side of the universe.

31. Metaphor

There was an invisible necklace of nows,
stretching out in front of her along the crazy,
twisting road, each bead a golden second.

32. Scientific prose style

The first and most noticeable feature of this
style is the logical sequence of utterances
with clear indication of their interrelations
and interdependence. It will not be an
exaggeration to say that in no other
functional style do we find such a developed
and varied system of connectives.

33. Belles-letters style

"aesthetico-cognitive“ function
This is a double function which aims at the
cognitive process, which secures the gradual
unfolding of the idea to the reader and at the
same time calls forth a feeling of pleasure, a
pleasure which is derived from the form in
which the content is wrought.

34. Publicist style

The general aim of this style, which makes it stand
out as a separate one, is to exert a constant and deep
influence on public opinion, to convince the reader
or the listener that the interpretation given by the
writer or the speaker is the only correct one and to
cause him to accept the point of view expressed in
the speech, essay or article not merely through
logical argumentation but through emotional appeal
as well.

35. The style of official documents

The most striking, though not the most
essential feature, is a special system of
cliches, terms and set expressions by which
each substyle can easily be recognized.

36. Publicist style

Due to its characteristic combination of
logical argumentation and emotional
appeal, this style has features in common
with two other styles.

37. Scientific prose style

The language means used in this particular
style tend to be objective, precise,
unemotional, devoid of any individuality; there
is a striving for the most generalized form of
expression;
The necessity to penetrate deeper into the
essence of things and phenomena gives rise to
new concepts, which require new words to
name them.

38. Language of drama

The author's speech is almost entirely
excluded; the language of this genre is
entirely dialogue.

39. Metaphor

Your heart is my pinata.