RESOURCES

CONTENTS

TOOL KIT GLOSSARY

Close Reading . . . . . . . . . . . . . . . . . . R1
Academic/
Concept Vocabulary . . . . . . . . . . . . R38
Marking the Text
Vocabulario académicos/
First-Read Model and Guide Vocabulario de conceptos
Close-Read Model and Guide
Analyzing Legal Meanings and Reasoning Literary Terms Handbook . . . . . . R47
Manual de términos literarios
Writing . . . . . . . . . . . . . . . . . . . . . . . . . . R8
Argument Model Grammar Handbook . . . . . . . . . . . R59
Informative/Explanatory Model
Narrative Model
INDEXES
Research . . . . . . . . . . . . . . . . . . . . . . . R26
Index of Skills . . . . . . . . . . . . . . . . . . R69
Conducting Research
Reviewing Research Findings Index of Authors
Incorporating Research Into Writing and Titles . . . . . . . . . . . . . . . . . . . . . . R78
MLA Style for Listing Sources

Program Resources . . . . . . . . . . . . R36 ACKNOWLEDGMENTS

Evidence Log Model
Acknowledgments
Word Network Model and Credits . . . . . . . . . . . . . . . . . . . . R81

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reserved.
 CLOSE READING

Marking the Text: Strategies

and Tips for Annotation
When you close read a text, you read for comprehension and then reread *   IKeyloveIdea
to unlock layers of meaning and to analyze a writer’s style and techniques. ! it!
Marking a text as you read it enables you to participate more fully in the close-
reading process.
  ? I have questions
Unfamiliar or
Following are some strategies for text mark-ups, along with samples of how important word
the strategies can be applied. These mark-ups are suggestions; you and your
Context Clues
teacher may want to use other mark-up strategies.

Suggested Mark-Up Notations

WHAT I NOTICE HOW TO MARK UP QUESTIONS TO ASK
Key Ideas and Details • Highlight key ideas or claims. • What does the text say? What does it
• Underline supporting details or leave unsaid?
evidence. • What inferences do you need to
make?

TOOL KIT: CLOSE READING

• What details lead you to make your
inferences?
Word Choice • Circle unfamiliar words. • What inferences about word meaning
• Put a dotted line under context clues, can you make?
if any exist. • What tone and mood are created by
• Put an exclamation point beside word choice?
especially rich or poetic passages. • What alternate word choices might
the author have made?
Text Structure • Highlight passages that show key • Is the text logically structured?
details supporting the main idea. • What emotional impact do the
• Use arrows to indicate how sentences structural choices create?
and paragraphs work together to
build ideas.
• Use a right-facing arrow to indicate
foreshadowing.
• Use a left-facing arrow to indicate
flashback.

Author’s Craft • Circle or highlight instances of • Does the author’s style enrich or
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repetition, either of words, phrases, detract from the reading experience?

consonants, or vowel sounds. • What levels of meaning are created by
• Mark rhythmic beats in poetry using the author’s techniques?
reserved.

checkmarks and slashes.

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• Underline instances of symbolism or

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figurative language.

Close Reading  R1
 CLOSE READING
In a first read, work to get a sense
of the main idea of a text. Look for
key details and ideas that help you
understand what the author conveys
to you. Mark passages which prompt a
*   IKeyloveIdea strong response from you.
! it!

  ? I have questions Here is how one reader marked up

Unfamiliar or this text.
important word
Context Clues
MODEL

INFORMATIONAL TEXT
NOTES

from Classifying the Stars

Cecilia H. Payne
*
TOOL KIT: CLOSE READING

1 Sunlight and starlight are composed of waves of various lengths,

which the eye, even aided by a telescope, is unable to separate.
We must use more than a telescope. In order to sort out the

? component colors, the light must be dispersed by a prism, or

split up by some other means. For instance, sunbeams passing
through rain drops, are transformed into the myriad-tinted
rainbow. The familiar rainbow spanning the sky is Nature’s most
! glorious demonstration that light is composed of many colors.

2
*
The very beginning of our knowledge of the nature of a star
dates back to 1672, when Isaac Newton gave to the world the
results of his experiments on passing sunlight through a prism.
To describe the beautiful band of rainbow tints, produced when
sunlight was dispersed by his three-cornered piece of glass, he
took from the Latin the word spectrum, meaning an appearance.
The rainbow is the spectrum of the Sun. . . .

3
*
In 1814, more than a century after Newton, the spectrum of the
Sun was obtained in such purity that an amazing detail was seen
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and studied by the German optician, Fraunhofer. He saw that

the multiple spectral tints, ranging from delicate violet to deep
red, were crossed by hundreds of fine dark lines. In other words,
reserved.

there were narrow gaps in the spectrum where certain shades

Savvas

were wholly blotted out. We must remember that the word

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spectrum is applied not only to sunlight, but also to the light of

any glowing substance when its rays are sorted out by a prism or
a grating.

R2  TOOL KIT

 MODEL You may want to use a guide like
this to organize your thoughts after
First-Read Guide
you read. Here is how a reader
Use this page to record your first-read ideas. completed a First-Read Guide.

Classifying the Stars

Selection Title:

NOTICE new information or ideas you ANNOTATE by marking vocabulary and key
learned about the unit topic as you first passages you want to revisit.
read this text.
Vocabulary
Light = different waves of colors. (Spectrum) myriad
Newton - the first person to observe these grating
waves using a prism. component colors
Faunhofer saw gaps in the spectrum.
Different light types = different lengths
Isaac Newton also worked theories of gravity.

TOOL KIT: CLOSE READING

Multiple spectral tints? “colors of various
appearance”

Key Passage:
Paragraph 3 shows that Fraunhofer
discovered more about the nature of light
spectrums: he saw the spaces in between
the tints.

CONNECT ideas within the selection to RESPOND by writing a brief summary of

other knowledge and the selections you the selection.
have read.
Science allows us to see things not visible to
I remember learning about prisms in science the naked eye. What we see as sunlight is
class. really a spectrum of colors. By using tools,
such as prisms, we can see the components
Double rainbows! My favorite. How are they of sunlight and other light. They appear as
made? single colors or as multiple colors separated
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by gaps of no color. White light contains a

rainbow of colors.
reserved.
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Close Reading  R3
 CLOSE READING
In a close read, go back into the text to
study it in greater detail. Take the time
to analyze not only the author’s ideas but
the way that those ideas are conveyed.
Consider the genre of the text, the author’s

*   IKeyloveIdea word choice, the writer’s unique style, and

! it! the message of the text.
  ? I have questions
Unfamiliar or
Here is how one reader close read this text.
important word
Context Clues
MODEL

informational Text
NOTES

from Classifying the Stars

Cecilia H. Payne
*
TOOL KIT: CLOSE READING

explanation of 1 Sunlight and starlight are composed of waves of various lengths,

sunlight and which the eye, even aided by a telescope, is unable to separate.
starlight We must use more than a telescope. In order to sort out the

What is light and ? component colors, the light must be dispersed by a prism, or
split up by some other means. For instance, sunbeams passing
where do the colors
through rain drops, are transformed into the myriad-tinted
come from?
rainbow. The familiar rainbow spanning the sky is Nature’s most
! glorious demonstration that light is composed of many colors.

This paragraph is 2 *
The very beginning of our knowledge of the nature of a star
about Newton and dates back to 1672, when Isaac Newton gave to the world the
the prism. results of his experiments on passing sunlight through a prism.
To describe the beautiful band of rainbow tints, produced when
What discoveries sunlight was dispersed by his three-cornered piece of glass, he
helped us
took from the Latin the word spectrum, meaning an appearance.
understand light?
The rainbow is the spectrum of the Sun. . . .

3
*
In 1814, more than a century after Newton, the spectrum of the
Sun was obtained in such purity that an amazing detail was seen
Learning Company LLC.

and studied by the German optician, Fraunhofer. He saw that

Fraunhofer and gaps
the multiple spectral tints, ranging from delicate violet to deep
in spectrum
red, were crossed by hundreds of fine dark lines. In other words,
reserved.

there were narrow gaps in the spectrum where certain shades

Savvas

were wholly blotted out. We must remember that the word

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spectrum is applied not only to sunlight, but also to the light of

any glowing substance when its rays are sorted out by a prism or
a grating.

R4  TOOL KIT

 MODEL You can use the Close-Read Guide
to help you dig deeper into the text.
Close-Read Guide
Here is how a reader completed a
Use this page to record your close-read ideas. Close-Read Guide.

Classifying the Stars

Selection Title:

Close Read the Text Analyze the Text

Revisit sections of the text you marked during Think about the author’s choices of
your first read. Read these sections closely patterns, structure, techniques, and ideas
and annotate what you notice. Ask yourself included in the text. Select one, and record
questions about the text. What can you your thoughts about what this choice
conclude? Write down your ideas. conveys.

Paragraph 3: Light is composed of waves of The author showed the development

various lengths. Prisms let us see different of human knowledge of the spectrum
colors in light. This is called the spectrum. chronologically. Helped me see how ideas
Fraunhofer proved that there are gaps in were built upon earlier understandings.
the spectrum, where certain shades are Used dates and “more than a century after

TOOL KIT: CLOSE READING

blotted out. Newton” to show time.

More than one researcher studied this and

each built off the ideas that were already
discovered.

QuickWrite
Pick a paragraph from the text that grabbed your interest. Explain the power of this passage.

The first paragraph grabbed my attention, specifically the sentence “The familiar rainbow spanning
the sky is Nature’s most glorious demonstration that light is composed of many colors.” The
paragraph began as a straightforward scientific explanation. When I read the word “glorious,” I had
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to stop and deeply consider what was being said. It is a word loaded with personal feelings. With
that one word, the author let the reader know what was important to her.
reserved.
Savvas
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Close Reading  R5
 CLOSE READING

Analyzing Legal Meanings and Reasoning

Reading historical and legal texts requires careful analysis of both the vocabulary
and the logical flow of ideas that support a conclusion.

Understanding Legal Meanings

NOTES
The language of historical and legal documents is formal, precise, and technical.
Many words in these texts have specific meanings that you need to understand
in order to follow the flow of ideas. For example, the second amendment to the
U.S. Constitution states that “A well regulated Militia being necessary to the
security of a free State, the right of the people to keep and bear Arms shall not
be infringed.” To understand this amendment, it is important to know that in this
context militia means “armed forces,” bear means “carry,” and infringed means
“denied.” To understand legal meanings:

• Use your knowledge of word roots to help you understand unfamiliar words.
Many legal terms use familiar Greek or Latin roots, prefixes, or suffixes.
• Do not assume that you know a word’s legal meaning: Use a dictionary to
TOOL KIT: CLOSE READING

check the meanings of key words to be certain that you are applying the
correct meaning.
• Paraphrase the text to aid comprehension. Replace difficult words with
synonyms to make sure you follow the logic of the argument.

Delineating Legal Reasoning

Works of public advocacy, such as court decisions, political proclamations,
proposed laws, or constitutional amendments, use careful reasoning to support
conclusions. These strategies can help you understand the legal reasoning in an
argument:

• State the purpose of the document in your own words to help you focus on
the writer’s primary goal.
• Look for the line of reasoning that supports the arguments presented. To be
valid and persuasive, key arguments should be backed up by clearly stated
logical analysis. Be aware of persuasive techniques, such as citing facts and
statistics, referring to expert testimonials, and using emotional language with
strong connotations.
• Identify the premises, or evidence, upon which a decision rests. In legal
texts, premises often include precedents, which are earlier examples that
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must be followed or specifically overturned. Legal reasoning is usually based

on the decisions of earlier trials. Be sure you understand precedents in order
to identify how the court arrived at the current decision.
reserved.
Savvas
©Allbyrights

R6  TOOL KIT

 MODEL
Note the strategies used to evaluate legal meanings
and reasoning in this Supreme Court decision from 1954
regarding the legality of segregated, “separate but equal”
schools for students of different races.

LEGAL TEXT Use Word Roots The

word tangible comes
from Brown v. Board of Education of Topeka, Opinion from the Latin root
of the Supreme Court by Chief Justice Earl Warren meaning “to touch.” In
this decision, the court
We come then to the question presented: Does segregation of children contrasts tangible,
in public schools solely on the basis of race, even though the physical measurable features
facilities and other “tangible” factors may be equal, deprive the with intangible features
children of the minority group of equal educational opportunities? that are difficult to
We believe that it does. measure.

In Sweatt v. Painter, in finding that a segregated law school for Negroes Identify the Premises
could not provide them equal educational opportunities, this Court The court cites two
relied in large part on “those qualities which are incapable of objective precedents: earlier

TOOL KIT: CLOSE READING

measurement but which make for greatness in a law school.” In cases relating to
McLaurin v. Oklahoma State Regents, the Court, in requiring that a Negro unequal education
admitted to a white graduate school be treated like all other students, opportunities for black
again resorted to intangible considerations: “. . . his ability to study, to students.
engage in discussions and exchange views with other students, and,
in general, to learn his profession.” Such considerations apply with Paraphrase the Text
Here’s one way you
added force to children in grade and high schools. To separate them
might break down the
from others of similar age and qualifications solely because of their race
ideas in this sentence
generates a feeling of inferiority as to their status in the community that when you paraphrase:
may affect their hearts and minds in a way unlikely ever to be undone. Segregating students
The effect of this separation on their educational opportunities was well just because of their
stated by a finding in the Kansas case by a court which nevertheless race makes them feel as
felt compelled to rule against the Negro plaintiffs: Segregation of white if they are less valued
and colored children in public schools has a detrimental effect upon by our society. This
the colored children. The impact is greater when it has the sanction separation can have a
permanent negative
of the law, for the policy of separating the races is usually interpreted
influence on their
as denoting the inferiority of the negro group. A sense of inferiority
character.
affects the motivation of a child to learn. Segregation with the
sanction of law, therefore, has a tendency to [retard] the educational
Line of Reasoning The
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and mental development of negro children and to deprive them

conclusion makes the
of some of the benefits they would receive in a racially integrated purpose of the decision
school system. Whatever may have been the extent of psychological clear: to overturn the
reserved.

knowledge at the time of Plessy v. Ferguson, this finding is amply precedent established
Savvas

supported by modern authority. Any language in Plessy v. Ferguson by Plessy v. Ferguson.

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contrary to this finding is rejected. The argument

describes the reasons
We conclude that, in the field of public education, the doctrine of the Court no longer
“separate but equal” has no place. Separate educational facilities are considers the reasoning
inherently unequal. in that earlier case to be
valid.

Close Reading  R7
 WRITING

Argument
When you think of the word argument, you might think of a disagreement
between two people, but an argument is more than that. An argument is a
logical way of presenting a belief, conclusion, or stance. A good argument is
supported with reasoning and evidence.

Argument writing can be used for many purposes, such as to change a reader’s
point of view or opinion or to bring about an action or a response from a reader.

Elements of an Argumentative Text

An argument is a logical way of presenting a viewpoint, belief, or stand on an
issue. A well-written argument may convince the reader, change the reader’s
mind, or motivate the reader to take a certain action.

An effective argument contains these elements:

• a precise claim
• consideration of counterclaims, or opposing positions, and a discussion of
their strengths and weaknesses
• logical organization that makes clear connections among claim,
TOOL KIT: WRITING

counterclaim, reasons, and evidence

• valid reasoning and evidence
• a concluding statement or section that logically completes the argument
• formal and objective language and tone
• error-free grammar, including accurate use of transitions

Savvas
©Allbyrights Learning Company LLC.
reserved.

R8  RESOURCES: Tool Kit

 MODEL

ARGUMENT: SCORE 1

Community Service Should be a Requirement for

High School Graduation
Volunteering is a great idea for high school students. Those who don’t The claim is not
volunteer are missing out. clearly stated in the
introduction.
You can learn a lot at your volunteer job. It might not seem like a big
deal at the time, but the things you learn and do can be useful. You
might volunteer somewhere with a spreadsheet. Everyone needs
to know how to use a spreadsheet! That’s going to be a useful again
really soon.
The argument contains
Their lots of reasons to get involved. One of them is to become a better mistakes in standard
student in school. Also, to feel better about yourself and not act out English conventions of
so much. usage and mechanics.

So, volunteering helps you learn and get better at lots of things, not

TOOL KIT: WRITING

just what you are doing at your volunteer job. It’s good not just to
The vocabulary used is
learn reading and writing and math and science all the time—the usual
limited and ineffective,
stuff we study in school. That’s how volunteering can help you out.
and the tone is
Students today are really busy and they can’t add anything more informal.

to they’re busy schedules. But I think they can add a little more
if it doesn’t take too much time. Especially if it is important like The writer does
volunteering. not acknowledge
counterclaims.
High school students who volunteer get involved with the real
world outside school, and that means a lot. They have a chance to do
something that can make a difference in the world. This helps them
learn things that maybe they can’t learn in school, like, how to be kind
and jenerous and care about making the world a better place.

Volunteering in high school is a great idea. Everybody should do it.

There are lots of different ways to volunteer. You can even do it on
weekends with your friends.
Savvas
©Allbyrights Learning Company LLC.
reserved.

Argument (Score 1)  R9

 WRITING

MODEL

ARGUMENT: SCORE 2

Community Service Should be a Requirement for

High School Graduation
High school students should have to volunteer before they can The introduction
establishes the claim.
graduate. It makes sense because it is helpful to them and others. Some
students would volunteer anyway even if it wasn’t required, but some
wouldn’t. If they have to do it for graduation then they won’t miss out.
The tone of the
Their lots of reasons to get involved. One is to be a better student in
argument is
school. Researchers have done studies to see the connection between occasionally formal
community service and doing well in school. One study showed that and objective.
most schools with programs said grades went up most of the time
for kids that volunteered. Another study said elementary and middle
school kids got better at problem-solving and were more interested in
school. One study said students showed more responsibility. Another
researcher discovered that kids who been volunteering have better
TOOL KIT: WRITING

self-esteem. They also have fewer problems.

Volunteering helps you learn and improve at lots of things, not just
what you are doing at your volunteer job. One thing you might
get better at is being a nicer person, like having more patience and
listening well to others. Because you might need those skills when you
are volunteering at a senior center or a preschool.

Some people say that volunteering in high school should NOT be

The writer briefly
required for graduation. They say students already have too much to
acknowledges and
do and they can’t add anything more to they’re schedules. But they
refutes counterclaims.
can add a little more if it doesn’t take too much time. Especially if it is
important like volunteering.

Why should students be forced to do something, even if it is good?

Well, that’s just the way it is. When you force students to do something The writers relies
that is good, you are doing them a favor. Like forcing them to eat their too much on weak
vegetables or do their homework. The kids might not like it at first but anecdotal evidence.
what do you want to bet they are happy about it later on. That’s the
Learning Company LLC.

point.

Volunteering should be required for all high school students before The conclusion offers
reserved.

they graduate. That’s not just because they can do a lot of good in the some insight into the
world, but also because doing community service will help them in
Savvas

claim and restates

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lots of ways. some information.

R10  RESOURCES: Tool Kit

 MODEL

ARGUMENT: SCORE 3

Community Service Should be a Requirement for

High School Graduation
The claim is
Requiring community service for high school graduation is an established in the
excellent idea that offers benefits not only to the community but to the introduction but is not
student as well. Making it a requirement ensures that all students will as clear as it could be.
be able to get in on the act.
Volunteering is a great way to build skills. It might not seem like a big
deal at the time, but the experience you gain is very likely to be useful
in the future. For example, while tracking, sorting, and distributing
donations at an afterschool program, a volunteer might learn how to
use a spreadsheet. That’s going to come in handy very quickly, both in
and out of school.
The tone of the
Participating in service learning can help you do better in school. argument is mostly
(“Service learning” is when community service is part of a class formal and objective.

TOOL KIT: WRITING

curriculum.) For example, one study found that most schools
with service learning programs reported grade point averages of
participating students improved 76 percent of the time. Another study
showed improved problem-solving skills and increased interest in
academics among elementary and middle school students.
The writer does not
A study showed that middle and high school students who participated transition very well
in quality service learning projects showed more personal and social into new topics.
responsibility. Another study found that students were more likely
to help each other and be kind to each other, and care about doing
their best. Studies also show better self-esteem and fewer behavioral
problems in students who have been involved with service learning. The writer uses some
transitional phrases.
Despite all this, many people say that volunteering in high school
should NOT be a requirement for graduation. They point out that
students today are already over-stressed and over-scheduled. There The writer gives
simply isn’t room for anything more. a reason for the
True! But community service doesn’t have to take up a lot of time. It counterclaim, but
does not provide firm
might be possible for a group of time-stressed students to use class-
Learning Company LLC.

examples.
time to organize a fundraiser, or to squeeze their service into a single
“marathon” weekend. It’s all a question of priorities.
reserved.

In short, volunteering is a great way for students to help others, and The conclusion
Savvas

reap benefits for themselves as well. Making it a requirement ensures

©Allbyrights

restates the claim and

that all students have the chance to grow through involvement with provides additional
their communities. Volunteering opens doors and offers life-long detail.
benefits, and high school is the perfect time to get started!

Argument (Score 3)  R11

 WRITING

MODEL

ARGUMENT: SCORE 4
The introduction
Community Service Should be a Requirement for establishes the writer’s
claim in a clear and
High School Graduation
compelling way.
Every high school student should be required to do community service
in order to graduate. Volunteering offers life-long benefits that will
prepare all students for adulthood.

First and foremost, studies show that participating in service learning

—when community service is part of a class curriculum—often helps The writer uses a
students do better in school. For example, a study conducted by variety of sentence
Leeward County found that 83 percent of schools with service learning transitions.
programs reported grade point averages of participating students
improved 76 percent of the time. Another study, conducted by Hilliard
Research, showed improved problem-solving skills and increased
interest in academics among elementary and middle school students
Sources of evidence
who participated in service learning.
are comprehensive
TOOL KIT: WRITING

But it’s not just academic performance that can improve through and contain relevant
information.
volunteering: There are social and psychological benefits as well. For
example, a student survey showed that students who participated
in quality service learning projects showed more personal and social
responsibility. Another survey found that students involved in service
learning were more likely to be kind to each other, and care about doing
their best. Studies also show better self-esteem and fewer behavioral
problems in students who have been involved with service learning.

Despite all this, there are still many who say that volunteering in high
school should NOT be a requirement for graduation. They point out Counterclaims are
clearly acknowledged
that students today are already over-stressed and over-scheduled.
and refuted.
What’s more, requiring community service for graduation would be
particularly hard on athletes and low-income students who work after
school to help their families make ends meet.

Good points, but community service does not have to take up vast
quantities of time. It might be possible for a group of time-stressed
Learning Company LLC.

students to use class-time to organize a fundraiser, or to compress

their service into a single “marathon” weekend. Showing students that
helping others is something to make time for is an important lesson.
reserved.

In short, volunteering encourages engagement: It shows students

Savvas
©Allbyrights

that their actions matter, and that they have the power—and The conclusion offers
responsibility—to make the world a better place. What could be a fresh insight into the
claim.
more important lesson than that?

R12  RESOURCES: Tool Kit

 Argument Rubric
Focus and Organization Evidence and Elaboration Conventions
The introduction engages the reader The sources of evidence The argument intentionally
and establishes a claim in a compelling are comprehensive and uses standard English
way. specific and contain relevant conventions of usage and
information. mechanics.
The argument includes valid reasons
and evidence that address and The tone of the argument is
support the claim while clearly always formal and objective.
4 acknowledging counterclaims.
The vocabulary is always
The ideas progress logically, and appropriate for the audience
transitions make connections among and purpose.
ideas clear.

The conclusion offers fresh insight into

the claim.

The introduction engages the reader The sources of evidence The argument
and establishes the claim. contain relevant information. demonstrates general
accuracy in standard
The argument includes reasons and The tone of the argument is English conventions of
evidence that address and support mostly formal and objective. usage and mechanics.
my claim while acknowledging

TOOL KIT: WRITING

counterclaims. The vocabulary is generally
3 appropriate for the audience
The ideas progress logically, and some and purpose.
transitions are used to help make
connections among ideas clear.

The conclusion restates the claim and

important information.

The introduction establishes a claim. The sources of evidence The argument

contain some relevant demonstrates some
The argument includes some information. accuracy in standard
reasons and evidence that address English conventions of
and support the claim while briefly The tone of the argument usage and mechanics.
acknowledging counterclaims. is occasionally formal and
objective.
2 The ideas progress somewhat
logically. A few sentence transitions The vocabulary is somewhat
are used that connect readers to the appropriate for the audience
argument. and purpose.

The conclusion offers some insight

into the claim and restates information.
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The introduction does not clearly state Reliable and relevant The argument contains
the claim. evidence is not included. mistakes in standard
English conventions of
The argument does not include The vocabulary used is limited usage and mechanics.
reserved.

reasons or evidence for the claim. No or ineffective.

counterclaims are acknowledged.
Savvas

The tone of the argument is

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1
The ideas do not progress logically. not objective or formal.
Transitions are not included to connect
ideas.

The conclusion does not restate any

information that is important.

Tool Kit  R13

 WRITING

Informative/Explanatory Texts
Informative and explanatory writing should rely on facts to inform or explain.
Informative writing serves several purposes: to increase readers’ knowledge of a
subject, to help readers better understand a procedure or process, or to provide
readers with an enhanced comprehension of a concept. It should also feature a
clear introduction, body, and conclusion.

Elements of Informative/Explanatory Texts

Informative/explanatory texts present facts, details, data, and other kinds of
evidence to give information about a topic. Readers turn to informational and
explanatory texts when they wish to learn about a specific idea, concept, or
subject area, or if they want to learn how to do something.

An effective informative/explanatory text contains these elements:

• a topic sentence or thesis statement that introduces the concept or subject
• relevant facts, examples, and details that expand upon a topic
• definitions, quotations, and/or graphics that support the information given
• headings (if desired) to separate sections of the essay
TOOL KIT: WRITING

• a structure that presents information in a direct, clear manner

• clear transitions that link sections of the essay
• precise words and technical vocabulary where appropriate
• formal and object language and tone
• a conclusion that supports the information given and provides fresh insights

Savvas
©Allbyrights Learning Company LLC.
reserved.

R14  RESOURCES: Tool Kit

 MODEL

INFORMATIVE: SCORE 1

How Technology is Changing the Way We Work

Lot’s of people work on computers. So, technology is everywhere. The writer’s opening
If you feel comfortable using computers and all kinds of other statement does not
technology, your going to be a head at work, for sure. adequately introduce
the thesis, and there
They’re new Devices and Apps out there every day. Each different job are numerous spelling
has its own gadgets and programs and apps that you have to learn. mistakes.
Every day their more new apps and devices, they can do all kinds of
things.

In the past, people only worked at the office. They didn’t get to work
at home. Now, if you have a smart phone, you can check your email The writer’s word
wherever. You can work at home on a computer. You can work in cafés choice often does not
support the proper
or wherever. Also on a tablet. If you wanted to, you can be working all
tone the essay ought
the time. But that will be a drag!
to have.

TOOL KIT: WRITING

Technology is now an important part of almost every job. You also
have to have a website. You have to have a social media page. Maybe if
your business is doing really well you could afford to hire someone to The essay’s sentences
take care of all that stuff—but it would be better if you knew how to do are often not
it yourself. purposeful, varied, or
well-controlled.
Technology brings people together and helps them work. It could be
someone next to you or someone even on the other side of the world.
You can connect with them using email. You can send a text. You could
have a conference or video call.

Working from home is cheaper for the worker and boss. They can get
stuff done during the day like going to the post office or the library, or
picking up their kids at school. This is all thanks to technology.

Lots of jobs today are in technology. Way more than before! That’s
why it’s a good idea to take classes and learn about something in
technology, because then you will be able to find a job.
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There are apps to find houses for sale, find restaurants, learn new
recipes, keep track of how much you exercise, and all kinds of other
things, like playing games and tuning your guitar. And there are apps The writer does not
reserved.

to help you work. It’s hard to imagine how people would manage to include a concluding
work now without this kind of technology to help them.
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statement.
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Argument (Score 1)  R15

 WRITING

MODEL

INFORMATIVE: SCORE 2

How Technology is Changing the Way We Work

Technology affects the way we work, in every kind of job and industry. The writer’s opening
Each different job has its own gadgets and programs and apps that you does not clearly
have to learn. Every day there are more new apps and devices that can introduce the thesis.
do all kinds of things.

In the past, people went to the office to work. That’s not always true
today. Now if you have a smart phone, you can check your email
wherever you are. You can work at home on a desktop computer. You
can work on a laptop in a café or wherever. Or a tablet. Technology
makes it so people can work all the time.

It doesn’t matter whether the person is on the other side of the world—
technology brings you together. Theirs email. Theirs text messaging.
You have conference calls. You’ve got video calling. All these things
The essay is
let people work together wherever they are. And don’t forget, today
TOOL KIT: WRITING

somewhat lacking
people can access files from the cloud. That helps them work from
in organizational
whatever device they want. More than one person can work on the structure.
same file.

Different kinds of work places and schedules are becoming more

common and normal. Working from home has benefits businesses. It The essay has many
means cost savings. It means higher productivity. It means higher job interesting details, but
satisfaction. They can get stuff done during the day like going to the some do not relate
post office or the bank, or picking up their kids at school. That is very specifically to the
convenient. topic.

It’s also true that lots and lots of jobs today are in technology, or
related to technology in some way. Way more than before! That’s The writer’s word
choice is overly
why it’s a good idea to get a degree or take classes and learn about
informal.
something in technology, because it seems like that’s where all the new
jobs are. Software designers make a really good salary, and so do other
tech-related jobs.

Technology is now an important part of almost every job. It’s no longer

The writer’s sentences
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enough to be just a photographer or whatever. You have to get a social are disjointed and
media page. You have to be able to use the latest tech gadgets. You ineffective.
can’t just take pictures.
reserved.

In todays world, technology is changing how we work. You have to be

Savvas

The conclusion follows

©Allbyrights

able to feel comfortable with technology in order to survive at work. logically but is not
Even if you really don’t like technology, you don’t really have a choice. mature and is overly
So, get used to it! informal.

R16  RESOURCES: Tool Kit

 MODEL

INFORMATIVE: SCORE 3

How Technology Is Changing the Way We Work The thesis is

introduced but
Technology has been changing how we work for a long time, but the
is buried in the
pace of change has gotten dramatically faster. No industry or job is
introduction.
exempt. Powerful computing technology and Internet connectivity
affects all sectors of the economy. It doesn’t matter what job you’re
talking about: Technology is transforming the way people work. It’s an
The writer uses
exciting time to be entering the workforce!
headings to help make
the organization of
The Office Is Everywhere
ideas clear.
Technology is rapidly changing not just how but where, when, and with
whom we work. It used to be that work was something that happened
only at the office. All kinds of different work places and schedules
are becoming much more common and normal. According to a study, Statistics support the
telecommuting (working from home) rose 79 percent between 2005 writer’s claim.
and 2012. Working from home has benefits for both the employee and

TOOL KIT: WRITING

employer. It means cost savings for both, increased productivity, and
higher job satisfaction.

The Cloud
Cloud and other data storage and sharing options mean that workers
have access to information whenever they want, wherever they are.
Whether it’s one person who wants the convenience of being able to
work on a file from several devices (and locations), or several people who
are working on something together, the ability to store data in the cloud
and access it from anywhere is a huge change in the way we work. It’s
almost like all being in the same office, working on the same computer.
The writer uses
Tech Industries and Jobs some transitions and
sentence connections,
Technology is changing the way we work in part by making technology
but more would be
itself such an important element in almost every profession. Therefore, helpful.
you can see it’s no longer good enough to be just a photographer or
contractor. You have to know something about technology to do your
job, market yourself, and track your performance. No matter what jobs There are a few
someone does they have to be tech-savvy to be able to use their devices errors in spelling and
Learning Company LLC.

to connect and interact with each other across the globe. punctuation but they
do not detract from
Conclusion the effectiveness of
reserved.

In todays world, technology is quickly and continuously changing the essay.

Savvas

how we work, what we do, where and when we do it. In order to do

©Allbyrights

well and thrive, everyone has to be a little bit of a tech geek. So, get The conclusion sums
used to technology being a part of your work life. And get used to up the main ideas
change. Because, in a constantly changing technological world, change of the essay and
is going to be one of the few things that stays the same! links to the opening
statements.

Argument (Score 3)  R17

 WRITING

MODEL

INFORMATIVE: SCORE 4

How Technology Is Changing the Way We Work

While advances in technology have been changing how we work for
hundreds of years, the pace of change has accelerated dramatically in The opening
paragraph ends
the past two decades. With powerful computing technology and Internet
with a thesis,
connectivity affecting all sectors of the economy, no industry or profession which is strong
is exempt. It doesn’t matter whether you’re talking about financial and clear.
advisors, architects, or farmers: Technology is transforming the way
people work.
The writer makes
The Office Is Everywhere an effort to be
thoughtful and
Technology is rapidly revolutionizing not just how but where, when, and
engage the
with whom we work. It used to be that work was something that happened
reader.
strictly at the office. In fact, non-traditional work places are becoming much
more common. According to one study, telecommuting rose 79 percent
between 2005 and 2012. Working from home has proven benefits for both Headings help
TOOL KIT: WRITING

the employee and employer, including cost savings for both, increased ensure that
productivity, and job satisfaction. the organizing
structure of the
Working with the Cloud essay is clear and
Another important technological advancement that is impacting how we effective.
work is the development of cloud computing. Whether it’s one person
who wants the convenience of being able to work from several devices,
or several people who are working together from different locations, the
ability to store data in the cloud and access it from anywhere is a huge The sentences
change in the way we work. Over long distances, coworkers can not only in the essay are
communicate with each other, they can collaborate, in real time, by sharing purposeful and
and accessing files through the. Only five years ago, this kind of instant varied.
access was impossible.

Tech Industries and Jobs

Technology is changing the way we work is by making technology itself
an important element in almost every job. It’s no longer good enough to The progression
of ideas in
be just a photographer or contractor: you have to know something about
the essay is
technology to perform, market, and track your work. No matter what job
Learning Company LLC.

logical and
someone is doing, he or she has to be tech-savvy to be able to use their well‑controlled.
devices to connect and interact.
reserved.

Conclusion The writer’s

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In today’s world, technology is quickly and continuously changing what word choice
©Allbyrights

contributes to
work we do, and how, where, when, and with whom we do it. Comfort
the clarity of the
with new technology—and with rapid technological change—is a
essay and shows
prerequisite for success, no matter where your interests lie, or what awareness of the
kind of job you are looking to find. It’s a brave new technological world of essay’s purpose
work, and it’s changing every day! and tone.

R18  RESOURCES: Tool Kit

 Informative/Explanatory Rubric
Focus and Organization Evidence and Elaboration Conventions
The introduction engages the The essay includes specific The essay uses standard
reader and states a thesis in a reasons, details, facts, and English conventions of
compelling way. quotations from selections usage and mechanics.
and outside resources to
The essay includes a clear support the thesis. The essay contains no
introduction, body, and conclusion. spelling errors.
The tone of the essay is always
4
The conclusion summarizes formal and objective.
ideas and offers fresh insight into
the thesis. The language is always precise
and appropriate for the audience
and purpose.

The introduction engages the reader The essay includes some The essay demonstrates
and sets forth the thesis. specific reasons, details, facts, general accuracy
and quotations from selections in standard English
The essay includes an introduction, and outside resources to support conventions of usage and
body, and conclusion. the thesis. mechanics.

TOOL KIT: WRITING

3 The conclusion summarizes ideas The tone of the essay is mostly The essay contains few
and supports the thesis. formal and objective. spelling errors.

The language is generally

precise and appropriate for the
audience and purpose.

The introduction sets forth the thesis. The essay includes a few The essay demonstrates
reasons, details, facts, and some accuracy in standard
The essay includes an introduction, quotations from selections and English conventions of
body, and conclusion, but one or outside resources to support usage and mechanics.
more parts are weak. the thesis.
The essay contains some
The conclusion partially The tone of the essay is spelling errors.
2 summarizes ideas but may not occasionally formal and
provide strong support of the thesis. objective.

The language is somewhat

precise and appropriate for the
audience and purpose.

The introduction does not state the Reliable and relevant evidence is The essay contains
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thesis clearly. not included. mistakes in standard

English conventions of
The essay does not include an The tone of the essay is not usage and mechanics.
introduction, body, and conclusion. objective or formal.
reserved.

The essay contains many

1 The conclusion does not summarize The language used is imprecise spelling errors.
Savvas

ideas and may not relate to the and not appropriate for the
©Allbyrights

thesis. audience and purpose.

Tool Kit  R19

 WRITING

Narration
Narrative writing conveys experience, either real or imaginary, and uses time
to provide structure. It can be used to inform, instruct, persuade, or entertain.
Whenever writers tell a story, they are using narrative writing. Most types of
narrative writing share certain elements, such as characters, setting, a sequence
of events, and, often, a theme.

Elements of a Narrative Text

A narrative is any type of writing that tells a story, whether it is fiction,
nonfiction, poetry, or drama.

An effective nonfiction narrative usually contains these elements:

• an engaging beginning in which characters and setting are established
• characters who participate in the story events
• a well-structured, logical sequence of events
• details that show time and place
• effective story elements such as dialogue, description, and reflection
• the narrator’s thoughts, feelings, or views about the significance of events
TOOL KIT: WRITING

• use of language that brings the characters and setting to life

An effective fictional narrative usually contains these elements:

• an engaging beginning in which characters, setting, or a main conflict is
introduced
• a main character and supporting characters who participate in the
story events
• a narrator who relates the events of the plot from a particular point of view
• details that show time and place
• conflict that is resolved in the course of the narrative
• narrative techniques such as dialogue, description, and suspense
• use of language that vividly brings to life characters and events
Savvas
©Allbyrights Learning Company LLC.
reserved.

R20  RESOURCES: Tool Kit

 MODEL

NARRATIVE: SCORE 1

Getting Away With It

The introduction is
That night, Luanne made two mistakes. interesting but is not
She ran in the house. built upon.
The McTweedys were rich and had a huge place and there was an
expensive rug.
She was sad in her room remembering what happened:
She was carrying a tray of glasses back to the kitchen and spilled The chronology and
on the carpet. She tried to put furniture over it. Then she ran in the situation are unclear.
rain.
Luanne should have come clean. She would of said I’m sorry, Mrs.
Mc Tweedy, I spilled punch on ur carpet.
The narrative contains
She knew getting away with it felt crummy for some reason. it was mistakes in standard
wrong and she also didn’t want to get in trouble. English conventions of
The phone rings. usage and mechanics.

TOOL KIT: WRITING

“Oh, hello?”
“It’s Mrs. Tweedy’s!” said her mom. “You forgot to get paid!” The name of the
character does not
Luanne felt relieve. She was going to do the right thing.
remain consistent.

The conclusion reveals

what will happen but is
not interesting.
Savvas
©Allbyrights Learning Company LLC.
reserved.

Narrative (Score 1)  R21

 WRITING

MODEL

NARRATIVE: SCORE 2

Getting Away With It

The introduction
That night, Luanne made two fatal mistakes: ruining a rug, and establishes a clear
thinking she could get away with it. context.
She ran in the house.
The McTweedys hired her to be a waiter at their party. They were
rich and had a huge place and there was an expensive rug.
She was sad in her room remembering what happened:
Luanne was wearing black pants and a white shirt. She was
carrying a tray of glasses back to the kitchen. One spilled on the carpet.
She tried to put furniture to cover up the stain. She ran away in the
rain. The writer has made
Luanne should have come clean right away. But what would she some mistakes in
have said? I’m sorry, Mrs. McTweedy, but I spilled punch all over your spelling, grammar, and
punctuation.
expensive carpet.
TOOL KIT: WRITING

Luanne imagined getting away with it. But getting away with it
felt crummy for some reason. She knew it was wrong somehow, but
The chronology is
she also didn’t want to get in trouble. sometimes unclear.
The phone rang.
“Oh, hello, how was the party?”
Luanne felt like throwing up.
Narrative techniques,
“Mrs. McTweedy’s on the phone!” her mom sang out. “She said such as the use of
you forgot your check!” dialogue, are used at
Luanne felt relieved. But she already made up her mind to do the times.
right thing.

The conclusion tells

what will happen but is
not interesting.
Savvas
©Allbyrights Learning Company LLC.
reserved.

R22  RESOURCES: Tool Kit

 MODEL

NARRATIVE: SCORE 3

Getting Away With It

The story’s
That night, Luanne made two fatal mistakes: (1) ruining a priceless introduction
Persian rug, and (2) thinking she could get away with it. establishes a clear
She bursted in the front door breathless. context and point
of view.
“How was it?” called her mom.
The McTweedys had hired her to serve drinks at their fundraiser.
Henry and Estelle McTweedy loved having parties. They were rich and
had a huge apartment filled with rare books, art, and tapestries from Descriptive details,
sensory language,
all over the world.
and precise words and
“Luanne? Are you alright?” phrases help to bring
“Just tired, Mom.” the narrative to life.

Actually she was face-planted on her bed, replaying the scene over
and over just in case she could change it.
It was like a movie: A girl in black trousers and a crisp white shirt

TOOL KIT: WRITING

carrying a tray of empty glasses back to the kitchen. Then the girl’s
horrified expression as she realizes that one of the glasses was not
quite as empty as she’d thought and was dripping onto the carpet. The
girl frantically moving furniture to cover up the stain. The girl running
out of the apartment into the hard rain.
Luanne kicked herself. She should have come clean right away. The writer mostly
attends to the norms
But what would she have said? I’m sorry, Mrs. McTweedy, but I spilled
and conventions
punch all over your expensive carpet. of usage and
Luanne imagined getting away with it. But getting away with it punctuation, but
felt crummy for some reason. She knew it was wrong somehow, but sometimes makes
she also didn’t want to get in trouble. mistakes.

The phone was ringing. Luanne froze.

“Oh, hello there, Mrs. McTweedy! How was the party?” The writer has
effectively used
Luanne felt felt like throwing up. dialogue in her story.
“Mrs. McTweedy’s on the phone!” her mom sang out. “She said
you forgot your check!”
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Luanne felt relief. It was nothing at all! Although she’d already

made up her mind to come clean. Because she had to do the right
thing.
reserved.

The conclusion follows

She walked into the kitchen. And then she explained the whole
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logically but is not

©Allbyrights

thing to both her mom and Mrs. McTweedy.

memorable.

Narrative (Score 3)  R23

 WRITING

MODEL

NARRATIVE: SCORE 4

Getting Away With It

The writer provides
That night, Luanne made two fatal mistakes: (1) ruining a priceless
an introduction that
Persian rug, and (2) thinking she could get away with it. establishes a clear
She’d burst in the front door breathless. context and point
“How was it?” called her mother from the kitchen. of view.
The McTweedys had hired Luanne to serve drinks at their
fundraiser. Henry and Estelle McTweedy loved entertaining. They
loved traveling, and the opera, and the finer things in life. They had a
huge apartment filled with rare books, art, and tapestries from all over The writer has used
the world. descriptive details,
“Luanne? Are you alright?” sensory language,
and precise words and
“Just tired, Mom.”
phrases.
Actually she was face-down on her bed, replaying the humiliating
scene over and over just in case she could make it come out differently.
TOOL KIT: WRITING

It was like a movie: A girl in black trousers and a crisp white shirt
carrying a tray of empty glasses back to the kitchen. Cut to the girl’s
The writer’s use of
horrified expression as she realizes that one of the glasses —not quite
movie terminology is
as empty as she’d thought—was dripping its lurid contents onto the clever and memorable.
carpet. Close in on the girl’s frantic attempts to move furniture over
the stain. Montage of images showing the girl running out of the
apartment into the pounding rain. Fade to Black.
Luanne could kick herself. She should have come clean right away.
But what would she have said? I’m sorry, Mrs. McTweedy, but I spilled
punch all over your irreplaceable carpet.
Luanne imagined getting away with it. If she got away with it,
she’d be a person who got away with things. For the rest of her life,
no matter what, she’d be a person who got away with things. And if The narrative presents
something good happened to her, she’d feel like she didn’t deserve it. a clear chronological
Somewhere in the house, a phone was ringing. Luanne froze and sequence of events.
listened in.
“Oh, hello there, Estelle! How was the party?”
Luanne felt cold, then hot. Her skin prickled. She was sweating. She The writer effectively
Learning Company LLC.

felt like throwing up. uses narrative

“Mrs. McTweedy’s on the phone!” Luanne’s mother sang out. “She techniques, such as
wants to tell you that you forgot your check!” dialogue.
reserved.

Luanne felt a surge a relief wash over her—it was nothing, nothing
Savvas
©Allbyrights

at all!—but she’d already made up her mind to come clean. Not The story’s conclusion
because owning up to it was so Right, but because getting away with it is abrupt but fitting.
was so wrong. Which made it right. It reveals a critical
Luanne padded into the kitchen. “Don’t hang up,” she told her mother. decision that resolves
the conflict.

R24  RESOURCES: Tool Kit

 Narrative Rubric
Development of Ideas/
Focus and Organization Conventions
Elaboration

The introduction establishes a Narrative techniques such as The narrative uses

clear context and point of view. dialogue, pacing, and description standard English
are used effectively to develop conventions of usage and
Events are presented in a characters, events, and setting. mechanics. Deviations
clear sequence, building to a from standard English are
climax, then moving toward the Descriptive details, sensory intentional and serve the
conclusion. language, and precise words and purpose of the narrative.
4
phrases are used to convey the
The conclusion follows from experiences in the narrative and Rules of spelling and
and reflects on the events and to help the reader imagine the punctuation are followed.
experiences in the narrative. characters and setting.

Voice is established through word

choice, sentence structure, and tone.

The introduction gives the reader Narrative techniques such as The narrative mostly
some context and sets the point dialogue, pacing, and description uses standard English
of view. are used occasionally. conventions of usage and
mechanics, though there
Events are presented logically, Descriptive details, sensory are some errors.

TOOL KIT: WRITING

though there are some jumps in language, and precise words and
3
time. phrases are used occasionally. There are few errors in
spelling and punctuation.
The conclusion logically ends the Voice is established through word
story, but provides only some choice, sentence structure, and tone
reflection on the experiences occasionally, though not evenly.
related in the story.

The introduction provides some Narrative techniques such as The narrative contains
description of a place. The point dialogue, pacing, and description some errors in standard
of view can be unclear at times. are used sparingly. English conventions of
usage and mechanics.
Transitions between events are The story contains few examples
occasionally unclear. of descriptive details and sensory There are many errors in
2
language. spelling and punctuation.
The conclusion comes abruptly
and provides only a small amount Voice is not established for
of reflection on the experiences characters, so that it becomes
related in the narrative. difficult to determine who is
speaking.

The introduction fails to set a Narrative techniques such as The text contains mistakes
scene or is omitted altogether. dialogue, pacing, and description in standard English
The point of view is not always are not used. conventions of usage and
mechanics.
Learning Company LLC.

clear.
Descriptive details are vague or
The events are not in a clear missing. No sensory language is Rules of spelling and
1 sequence, and events that would included. punctuation have not been
clarify the narrative may not followed.
reserved.

appear. Voice has not been developed.

Savvas
©Allbyrights

The conclusion does not follow

from the narrative or is omitted
altogether.

Tool Kit  R25

 research

Conducting Research
We are lucky to live in an age when information is accessible and plentiful.
However, not all information is equally useful, or even accurate. Strong
research skills will help you locate and evaluate information.

Narrowing or Broadening a Topic

The first step of any research project is determining your topic. Consider the
scope of your project and choose a topic that is narrow enough to address
completely and effectively. If you can name your topic in just one or two
words, it is probably too broad. Topics such as Shakespeare, jazz, or science
fiction are too broad to cover in a single report. Narrow a broad topic into
smaller subcategories.

Science fiction

Early science fiction

tool kit: research

Nineteenth-century science fiction

Nineteenth-century science fiction that predicted the future accurately

When you begin to research a topic, pay attention to the amount of

information available. If you feel overwhelmed by the number of relevant
sources, you may need to narrow your topic further.

If there isn’t enough information available as your research, you might need
to broaden your topic. A topic is too narrow when it can be thoroughly
presented in less space than the required size of your assignment. It might
also be too narrow if you can find little or no information in library and media
sources, so consider broadening your topic to include other related ideas.

Generating Research Questions

Use research questions to focus your research. Specific questions can help you
© by Savvas Learning Company LLC.

avoid time-wasting digressions. For example, instead of simply hunting for

information about Mark Twain, you might ask, “What jobs did Mark Twain
have, other than being a writer?” or “Which of Twain’s books was most
All rights reserved.

popular during his lifetime?”

In a research report, your research question often becomes your thesis

statement, or may lead up to it. The question will also help you focus your
research into a comprehensive but flexible search plan, as well as prevent you
from gathering unnecessary details. As your research teaches you more about
your topic, you may find it necessary to refocus your original question.

R26  tool kit

 Consulting Print and Digital Sources
Effective research combines information from several sources, Using Online Encyclopedias
and does not rely too heavily on a single source. The creativity Online encyclopedias are often
and originality of your research depends on how you combine written by anonymous contributors
ideas from multiple sources. Plan to consult a variety of who are not required to fact-check
resources, such as the following: information. These sites can be
very useful as a launching point
• Primary and Secondary Sources: To get a thorough view for research, but should not be
of your topic, use primary sources (firsthand or original considered accurate. Look for
accounts, such as interview transcripts, eyewitness reports, footnotes, endnotes, or hyperlinks
and newspaper articles) and secondary sources (accounts, that support facts with reliable
created after an event occurred, such as encyclopedia sources that have been carefully
entries). checked by editors.
• Print and Digital Resources: The Internet allows fast
access to data, but print resources are often edited more
carefully. Use both print and digital resources in order to
guarantee the accuracy of your findings.
• Media Resources: You can find valuable information in media resources
such as documentaries, television programs, podcasts, and museum
exhibitions. Consider attending public lectures given by experts to gain an

tool kit: research

even more in-depth view of your topic.
• Original Research: Depending on your topic, you may wish to conduct
original research to include among your sources. For example, you might
interview experts or eyewitnesses, or conduct a survey of people in your
community.

Evaluating Sources It is important to evaluate the credibility, validity,

and accuracy of any information you find, as well as its appropriateness
for your purpose and audience. You may find the information you need
to answer your research question in specialized and authoritative sources,
such as almanacs (for social, cultural, and natural statistics), government
publications (for law, government programs, and subjects such as agriculture),
and information services. Also, consider consumer, workplace, and public
documents.

Ask yourself questions such as these to evaluate these additional sources:

• Authority: Is the author well known? What are the author’s credentials?
Does the source include references to other reliable sources? Does the
author’s tone win your confidence? Why or why not?
© by Savvas Learning Company LLC.

• Bias: Does the author have any obvious biases? What is the author’s
purpose for writing? Who is the target audience?
• Currency: When was the work created? Has it been revised? Is there
All rights reserved.

more current information available?

Research  R27
 research

Using Search Terms

Finding information on the Internet can be both easy and challenging. Type
a word or phrase into a general search engine and you will probably get
hundreds—or thousands—of results. However, those results are not guaranteed
to be relevant or accurate.

These strategies can help you find information from the Internet:

• Create a list of keywords that apply to your topic before you begin using
a search engine. Consult a thesaurus to expand your list.
• Enter six to eight keywords.
• Choose precise nouns. Most search engines ignore articles and prepositions.
Verbs may be used in multiple contexts, leading to sources that are not
relevant. Use modifiers, such as adjectives, when necessary to specify
a category.
• Use quotation marks to focus a search. Place a phrase in quotation marks
to find pages that include exactly that phrase. Add several phrases in
quotation marks to narrow your results.
• Spell carefully. Many search engines autocorrect spelling, but they cannot
produce accurate results for all spelling errors.
tool kit: research

• Scan search results before you click them. The first result isn’t always the
most relevant. Read the text and consider the domain before make
a choice.
• Utilize more than one search engine.

Evaluating Internet Domains

Not everything you read on the Internet is true, so you have to evaluate sources carefully. The last
three letters of an Internet URL identify the Website’s domain, which can help you evaluate the
information of the site.

• .gov—Government sites are sponsored by a branch of the United States federal government,
such as the Census Bureau, Supreme Court, or Congress. These sites are considered reliable.
• .edu—Education domains include schools from kindergartens to universities. Information
from an educational research center or department is likely to be carefully checked. However,
education domains can also include student pages that are not edited or monitored.
• .org—Organizations are nonprofit groups and usually maintain a high level of credibility.
Keep in mind that some organizations may express strong biases.
© by Savvas Learning Company LLC.

• .com and .net—Commercial sites exist to make a profit. Information may be biased to show
a product or service in a good light. The company may be providing information to encourage
sales or promote a positive image.
All rights reserved.

R28  tool kit

 Taking Notes
Take notes as you locate and connect useful information from multiple
sources, and keep a reference list of every source you use. This will help you
make distinctions between the relative value and significance of specific data,
facts, and ideas.

For long-term research projects, create source cards and notecards to keep
track of information gathered from multiple resources.

Source Cards
Create a card that identifies each source.

• For print materials, list the author, title, Notecards

publisher, date of publication, and Create a separate notecard for each item
relevant page numbers. of information.
• For Internet sources, record the name
and Web address of the site, and the • Include the fact or idea, the letter
date you accessed the information. of the related source card, and the
specific page(s) on which the fact or
• For media sources, list the title, person,
idea appears.
or group credited with creating the

tool kit: research

media, and the year of production. • Use quotation marks around words
and phrases taken directly from print
or media resources.
• Mark particularly useful or relevant
details using your own annotation
Source Card [A]
method, such as stars, underlining,
or colored highlighting.
Marsh, Peter. Eye to Eye: How People
Interact. Salem House
Publishers, 1988.

Notecard

Gestures vary from culture to culture.

The American “OK” symbol (thumb and
forefinger) is considered insulting in
Greece and Turkey.

Source Card: A, p. 54.

© by Savvas Learning Company LLC.

Quote Accurately Responsible research begins with the first note you take.
Be sure to quote and paraphrase your sources accurately so you can identify
All rights reserved.

these sources later. In your notes, circle all quotations and paraphrases to
distinguish them from your own comments. When photocopying from a
source, include the copyright information. When printing out information
from an online source, include the Web address.

Research  R29
 research

Reviewing Research Findings

While conducting research, you will need to review your findings, checking that
you have collected enough accurate and appropriate information.

Considering Audience and Purpose

Always keep your audience in mind as you gather information, since different
audiences may have very different needs. For example, if you are writing an
in-depth analysis of a text that your entire class has read together and you are
writing for your audience, you will not need to gather background information
that has been thoroughly discussed in class. However, if you are writing the
same analysis for a national student magazine, you cannot assume that all of
your readers have the same background information. You will need to provide
facts from reliable sources to help orient these readers to your subject. When
considering whether or not your research will satisfy your audience, ask yourself:

• Who am I writing for?

• Have I collected enough information to explain my topic to this audience?
• Are there details in my research that I can omit because they are already
tool kit: research

familiar to my audience?

Your purpose for writing will also influence your review of research. If you are
researching a question to satisfy your own curiosity, you can stop researching
when you feel you understand the answer completely. If you are writing a
research report that will be graded, you need to consider the criteria of the
assignment. When considering whether or not you have enough information,
ask yourself:

• What is my purpose for writing?

• Will the information I have gathered be enough to achieve my purpose?
• If I need more information, where might I find it?

Synthesizing Sources
Effective research writing does not merely present facts and details; it
synthesizes—gathers, orders, and interprets—them. These strategies will help
you synthesize information effectively:

• Review your notes and look for connections and patterns among the details
© by Savvas Learning Company LLC.

you have collected.

• Arrange notes or notecards in different ways to help you decide how to
best combine related details and present them in a logical way.
All rights reserved.

• Pay close attention to details that support one other, emphasizing the same
main idea.
• Also look for details that challenge each other, highlighting ideas about
which there is no single, or consensus, opinion. You might decide to
conduct additional research to help you decide which side of the issue has
more support.

R30  tool kit

 Types of Evidence
When reviewing your research, also consider the kinds of evidence you have
collected. The strongest writing contains a variety of evidence effectively.
This chart describes three of the most common types of evidence: statistical,
testimonial, and anecdotal.

TYPE OF EVIDENCE DESCRIPTION EXAMPLE

Statistical evidence Examples of statistical evidence include “Although it went on to become
includes facts and historical dates and information, a hugely popular novel, the first
other numerical data quantitative analyses, poll results, and edition of William Goldman’s
used to support a quantitative descriptions. book sold fewer than 3,000
claim or explain a copies.”
topic.

Testimonial evidence Firsthand testimonies present ideas from “The ground rose and fell like
includes any ideas or eyewitnesses to events or subjects being an ocean at ebb tide.”
opinions presented discussed. —Fred J. Hewitt, eyewitness
by others, especially to the 1906 San Francisco
experts in a field. earthquake

tool kit: research

Secondary testimonies include Gladys Hansen insists that
commentaries on events by people who “there was plenty of water
were not involved. You might quote a in hydrants throughout [San
well-known literary critic when discussing Francisco] . . . The problem was
a writer’s most famous novel, or a this fire got away.”
prominent historian when discussing the
effects of an important event

Anecdotal evidence Compelling research should not rely Although many critics claim the
presents one person’s solely on this form of evidence, but it novel is universally beloved,
view of the world, can be very useful for adding personal at least one reader “threw the
often by describing insights and refuting inaccurate book against a wall because it
specific events or generalizations. An individual’s made me so angry.”
incidents. experience can be used with other forms
of evidence to present complete and
persuasive support.
© by Savvas Learning Company LLC.
All rights reserved.

Research  R31
 research

Incorporating Research Into Writing

Avoiding Plagiarism
Plagiarism is the unethical presentation Review for Plagiarism Always take time to
of someone else’s ideas as your own. You review your writing for unintentional plagiarism.
must cite sources for direct quotations, Read what you have written and take note of
paraphrased information, or facts that are specific any phrases or sentences that do not have your
to a single source. When you are drafting and personal writing voice. Compare those passages
revising, circle any words or ideas that are with your resource materials. You might have
not your own. Follow the instructions on pages copied them without remembering the exact
R34 and R35 to correctly cite those passages. source. Add a correct citation to give credit to the
original author. If you cannot find the questionable
phrase in your notes, revise it to ensure that your
final report reflects your own thinking and not
someone else’s work.

Quoting and Paraphrasing

When including ideas from research into your Include complete quotations, without deleting
tool kit: research

writing, you will decide to quote directly or or changing words. If you need to omit words for
paraphrase. space or clarity, use ellipsis points to indicate the
omission. Enclose direct quotations in quotation
Direct Quotation Use the author’s exact words marks and indicate the author’s name.
when they are interesting or persuasive. You
might decide to include direct quotations for these Paraphrase A paraphrase restates an author’s
reasons: ideas in your own words. Be careful to paraphrase
• to share an especially clear and relevant accurately. Beware of making sweeping
statement generalizations in a paraphrase that were not
made by the original author. You may use some
• to reference a historically significant passage
words from the original source, but a legitimate
• to show that an expert agrees with your paraphrase does more than simply rearrange
position an author’s phrases, or replace a few words
• to present an argument that you will counter with synonyms.
in your writing.

Original Text “The Tempest was written as a farewell to art and the artist’s life, just before
the completion of his forty-ninth year, and everything in the play bespeaks
the touch of autumn.” Brandes, Georg. “Analogies Between The Tempest
© by Savvas Learning Company LLC.

and A Midsummer Night’s Dream.” The Tempest, by William Shakespeare,

William Heinemann, 1904, p. 668.

Patchwork Plagiarism A farewell to art, Shakespeare’s play, The Tempest, was finished just before
All rights reserved.

phrases from the original are the completion of his forty-ninth year. The artist’s life was to end within three
rearranged, but too closely years. The touch of autumn is apparent in nearly everything in the play.
follows the original text.

Good Paraphrase Images of autumn occur throughout The Tempest, which Shakespeare wrote
as a way of saying goodbye to both his craft and his own life.

R32  tool kit

 Maintaining the Flow of Ideas
Effective research writing is much more that just a list of facts. Be sure to
maintain the flow of ideas by connecting research information to your own
ideas. Instead of simply stating a piece of evidence, use transition words
and phrases to explain the connection between information you found from
outside resources and your own ideas and purpose for writing. The following
transitions can be used to introduce, compare, contrast, and clarify.

Useful Transitions
When providing examples:
for example for instance to illustrate in [name of resource], [author]

When comparing and contrasting ideas or information:

in the same way similarly however on the other hand

When clarifying ideas or opinions:

tool kit: research

in other words that is to explain to put it another way

Choosing an effective organizational structure for your writing will help

you create a logical flow of ideas. Once you have established a clear
organizational structure, insert facts and details from your research in
appropriate places to provide evidence and support for your writing.

ORGANIZATIONAL STRUCTURE USES

Chronological order presents information in the historical topics; science experiments;
sequence in which it happens. analysis of narratives

Part-to-whole order examines how several analysis of social issues; historical topics
categories affect a larger subject.

Order of importance presents information in persuasive arguments; supporting a bold

order of increasing or decreasing importance. or challenging thesis
© by Savvas Learning Company LLC.

Comparison-and-contrast organization outlines addressing two or more subjects

the similarities and differences of a given topic.
All rights reserved.

Research  R33
 research

Formats for Citing Sources

In research writing, cite your sources. In the body Works Cited List (MLA Style) A Works Cited list
of your paper, provide a footnote, an endnote, or must contain accurate information to enable a
a parenthetical citation, identifying the sources of reader to locate each source you cite. The basic
facts, opinions, or quotations. At the end of your components of an entry are as follows:
paper, provide a bibliography or a Works Cited list,
a list of all the sources referred to in your research. • name of the author, editor, translator, and/or
Follow an established format, such as Modern group responsible for the work
Language Association (MLA) style. • title of the work
• publisher
Parenthetical Citations (MLA Style) A
parenthetical citation briefly identifies the source • date of publication
from which you have taken a specific quotation, For print materials, the information for a citation
factual claim, or opinion. It refers readers to generally appears on the copyright and title pages.
one of the entries on your Works Cited list. A For the format of a Works Cited list, consult the
parenthetical citation has the following features: examples on this page and in the MLA Style for
Listing Sources chart.
• It appears in parentheses.
• It identifies the source by the last name of the
author, editor, or translator, or by the title (for Sample Works Cited List (MLA 8th Edition)
tool kit: research

a lengthy title, list the first word only). Carwardine, Mark, et al. The Nature Company
• It provides a page reference, the page(s) of the Guides: Whales, Dolphins, and Porpoises.
source on which the information cited can Time-Life, 1998.
be found. ”Discovering Whales.” Whales on the Net.
Whales in Danger, 1998, www.whales.org.au/
A parenthetical citation generally falls outside
discover/index.html. Accessed 11 Apr. 2017.
a closing quotation mark but within the final
Neruda, Pablo. “Ode to Spring.” Odes to Opposites,
punctuation of a clause or sentence. For a long
translated by Ken Krabbenhoft, edited and illustrated
quotation set off from the rest of your text, place
by Ferris Cook, Little, 1995, p. 16.
the citation at the end of the excerpt without any
The Saga of the Volsungs. Translated by Jesse
punctuation following. L. Byock, Penguin, 1990.

Sample Parenthetical Citations

It makes sense that baleen whales such as the List an anonymous List both the title of the
blue whale, the bowhead whale, the humpback work by title. work and the collection
whale, and the sei whale (to name just a few) in which it is found.
grow to immense sizes (Carwardine et al.
19–21). The blue whale has grooves running
from under its chin to partway along the length
© by Savvas Learning Company LLC.

of its underbelly. As in some other whales,

these grooves expand and allow even more Works Cited List or Bibliography?
food and water to be taken in (Ellis 18–21).
A Works Cited list includes only those sources
All rights reserved.

you paraphrased or quoted directly in your

research paper. By contrast, a bibliography lists
Authors’ last names Page numbers where all the sources you consulted during research—
information can be found even those you did not cite.

R34  tool kit

 MLA (8th Edition) Style for Listing Sources
Book with one author Pyles, Thomas. The Origins and Development of the English Language.
2nd ed., Harcourt Brace Jovanovich, 1971.
[Indicate the edition or version number when relevant.]

Book with two authors Pyles, Thomas, and John Algeo. The Origins and Development of the
English Language. 5th ed., Cengage Learning, 2004.
Book with three or more Donald, Robert B., et al. Writing Clear Essays. Prentice Hall, 1983.
authors
Book with an editor Truth, Sojourner. Narrative of Sojourner Truth. Edited by Margaret Washington,
Vintage Books, 1993.
Introduction to a work Washington, Margaret. Introduction. Narrative of Sojourner Truth,
in a published edition by Sojourner Truth, edited by Washington, Vintage Books, 1993, pp. v–xi.
Single work in an Hawthorne, Nathaniel. “Young Goodman Brown.” Literature: An Introduction
anthology to Reading and Writing, edited by Edgar V. Roberts and Henry E. Jacobs,
5th ed., Prentice Hall, 1998, pp. 376–385.
[Indicate pages for the entire selection.]

Signed article from Askeland, Donald R. “Welding.” World Book Encyclopedia, vol. 21, World
an encyclopedia Book, 1991, p. 58.
Signed article in Wallace, Charles. “A Vodacious Deal.” Time, 14 Feb. 2000, p. 63.

tool kit: research

a weekly magazine
Signed article in Gustaitis, Joseph. “The Sticky History of Chewing Gum.”
a monthly magazine American History, Oct. 1998, pp. 30–38.
Newspaper article Thurow, Roger. “South Africans Who Fought for Sanctions Now Scrap
for Investors.” Wall Street Journal, 11 Feb. 2000, pp. A1+.
[For a multipage article that does not appear on consecutive pages, write only the first page number
on which it appears, followed by the plus sign.]

Unsigned editorial or story “Selective Silence.” Editorial. Wall Street Journal, 11 Feb. 2000, p. A14.
[If the editorial or story is signed, begin with the author’s name.]

Signed pamphlet [Treat the pamphlet as though it were a book.]

or brochure
Work from a library Ertman, Earl L. “Nefertiti’s Eyes.” Archaeology, Mar.–Apr. 2008, pp. 28–32.
subscription service Kids Search, EBSCO, New York Public Library. Accessed 7 Jan. 2017.
[Indicating the date you accessed the information is optional but recommended.]

Filmstrips, slide programs, The Diary of Anne Frank. 1959. Directed by George Stevens, performances
videocassettes, DVDs, and by Millie Perkins, Shelley Winters, Joseph Schildkraut, Lou Jacobi, and
other audiovisual media Richard Beymer, Twentieth Century Fox, 2004.
[Indicating the original release date after the title is optional but recommended.]

CD-ROM Simms, James, editor. Romeo and Juliet. By William Shakespeare,

(with multiple publishers) Attica Cybernetics / BBC Education / Harper, 1995.
© by Savvas Learning Company LLC.

Radio or television “Washington’s Crossing of the Delaware.” Weekend Edition Sunday,

program transcript National Public Radio, 23 Dec. 2013. Transcript.
Web page “Fun Facts About Gum.” ICGA, 2005–2017, www.gumassociation.org/index.
All rights reserved.

cfm/facts-figures/fun-facts-about-gum. Accessed 19 Feb. 2017.

[Indicating the date you accessed the information is optional but recommended.]

Personal interview Smith, Jane. Personal interview, 10 Feb. 2017.

All examples follow the style given in the MLA Handbook, 8th edition, published in 2016.

Research  R35
 PROGRAM RESOURCES

MODEL

Evidence Log As you read multiple texts about a topic, your

thinking may change. Use an Evidence Log like
Unit Title: Discovery
this one to record your thoughts, to track details
Perfomance-Based Assessment Prompt:
you might use in later writing or discussion, and
Do all discoveries benefit humanity? to make further connections. Sept. 15
Date:

My initial thoughts:
Here is a sample to show how one reader’s ideas
Yes - all knowledge moves us forward.
deepened as she read two texts.

Title of Text: Classifying the Stars Date: Sept. 17

TOOL KIT: PROGRAM RESOURCES

CONNECTION TO THE PROMPT TEXT EVIDENCE/DETAILS ADDITIONAL NOTES/IDEAS

Newton shared his discoveries and Paragraph 2: “Isaac Newton It’s not always clear how a
then other scientists built on his gave to the world the results discovery might benefit
discoveries. of his experiments on passing humanity in the future.
sunlight through a prism.”
Paragraph 3: “In 1814 . . . the
German optician, Fraunhofer . .
. saw that the multiple spectral
tints . . . were crossed by
hundreds of fine dark lines.”

How does this text change or add to my thinking? This confirms what Date: Sept. 20
I think.

Title of Text: Cell Phone Mania Date: Sept. 21

CONNECTION TO THE PROMPT TEXT EVIDENCE/DETAILS ADDITIONAL NOTES/IDEAS

Cell phones have made some Paragraph 7: “Over 80% of Is it good that we don’t talk to
forms of communication easier, but young adults state that texting each other as much?
Learning Company LLC.

people don’t talk to each other as is their primary method of

much as they did in the past. communicating with friends. Look for article about social
This contrasts with older adults media to learn more about this
reserved.

who state that they prefer a question.

phone call.”
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How does this text change or add to my thinking? Date:

Sept. 25
Maybe there are some downsides to discoveries. I still think that knowledge
moves us forward, but there are sometimes unintended negative effects.

R36  TOOL KIT

 MODEL

Word Network A word network is a collection of words related to a

topic. As you read the selections in a unit, identify
interesting theme-related words and build your
vocabulary by adding them to your Word Network.

Use your Word Network as a resource for your

discussions and writings. Here is an example:

challenge uncovered

TOOL KIT: PROGRAM RESOURCES

perseverance achieve/achievement

novel research/search

explore/exploration reveal/revelation

results DISCOVERY  experiment

observe/observation scientific
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scrutinize/scrutiny innovate
reserved.

ground-breaking investigation
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expeditions inquiry

Program Resources  R37

 ACADEMIC / CONCEPT VOCABULARY
Academic vocabulary appears in blue type.

Pronunciation Key
Symbol Sample Words Symbol Sample Words
a at, catapult, Alabama oo boot, soup, crucial
ah father, charms, argue ow now, stout, flounder
ai care, various, hair oy boy, toil, oyster
aw law, maraud, caution s say, nice, press
awr pour, organism, forewarn sh she, abolition, motion
ay ape, sails, implication u full, put, book
ee even, teeth, really uh ago, focus, contemplation
eh ten, repel, elephant ur bird, urgent. perforation
GLOSSARY: ACADEMIC / CONCEPT VOCABULARY

ehr merry, verify, terribly y by, delight, identify

ih it, pin, hymn yoo music, confuse, few
o shot, hopscotch, condo zh pleasure, treasure, vision
oh own, parole, rowboat

A breadth (brehdth) n. wide range; expansive extent

abridging (uh BRIHJ ihng) adj. limiting buttonholed (BUHT uhn hohld) v. held in conversation
acquiesce (ak wee EHS) v. accept something reluctantly
but without protest
C
cabana (kuh BAN uh) n. small tent or cabin
adamant (AD uh muhnt) adj. unrelenting; refusing to
be persuaded callously (KAL uhs lee) adv. without sympathy; coldly
ampler (AM pluhr) adj. more abundant calumny (KAL uhm nee) n. the making of false
statements with the intent to harm
analyze (AN uh lyz) v. examine carefully and in detail
cantina (kan TEE nuh) n. tavern
anticipation (an tihs uh PAY shuhn) n. eager
expectation caption (KAP shuhn) n. in graphic novels, separate text
that presents information that cannot be expressed quickly
appeal (uh PEEL) n. ability to attract and engage an
and easily in dialogue
audience’s mind or emotions
captivity (kap TIHV ih tee) n. condition of being held
ascendant (uh SEHN duhnt) adj. moving upward; rising
prisoner
assent (uh SEHNT) n. approval or agreement
caricature (KAIR ih kuh chuhr) n. exaggeration of
assert (uh SURT) v. declare firmly; insist upon; claim to details relating to people or events, often for humorous
be true effect, in a cartoon or other created image
audio play (AW dee oh) (play) n. theatrical performance certify (SUR tuh fy) v. declare something is true; verify
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of a drama produced for radio, podcast, or another that something is true

non-visual and non-print recorded form
clammy (KLAM ee) adj. cold and damp
awkward (AWK wuhrd) adj. not graceful or skillful in
collaborator (kuh LAB uh ray tuhr) n. person who
movement or shape; clumsy
reserved.

helps the enemy

B
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colloquial (kuh LOH kwee uhl) adj. written or spoken

©Allbyrights

in informal language used in everyday conversation

background (BAK grownd) n. more distant objects in a
photograph commentary (KOM uhn tehr ee) n. remarks that
illustrate a point, prompt a realization, or explain something
brawling (BRAWL ihng) adj. fighting noisily
composition (kom puh ZIH shuhn) n. arrangement of
brazenness (BRAY zuhn nuhs) n. act of being
the parts of an image, whether drawn or recorded in some
shameless; boldness
other visual format

R38  GLOSSARY
 conceded (kuhn SEED ihd) v. admitted disparity (dihs PAR uh tee) n. great difference or
conciliatory (kuhn SIHL ee uh tawr ee) adj. in inequality
a manner intended to make peace and bring about disposition (DIHS puh ZIHSH uhn) n. act of settling a
agreement case or argument; decision
conclave (KON klayv) n. private meeting disputation (dihs pyu TAY shuhn) n. debate or
condemnation (kon dehm NAY shuhn) n. very strong argument
disapproval dissented (dih SENT ihd) v. rejected an official opinion;
confirm (kuhn FURM) v. prove the truth of; verify disagreed
consecrate (KON sih krayt) v. set apart as holy; dedicate documentary (dok yuh MEHN tuhr ee) n. program or
film that provides a factual record or report of real events
conspirators (kuhn SPIHR uh tuhrz) n. people who join
in a secret plan dyspepsia (dihs PEHP see uh) n. indigestion
constrains (kuhn STRAYNZ) v. requires or forces E
constricting (kuhn STRIHKT ihng) adj. limiting; effrontery (ih FRUHN tuh ree) n. shameless boldness
tightening
eminence (EHM uh nuhns) n. position of great
conviction (kuhn VIHK shuhn) n. strong belief; certainty importance or superiority
corrupted (kuh RUHPT ihd) adj. dishonest eminent (EHM uh nuhnt) adj. distinguished; famous;
cowering (KOW uhr ihng) adj. crouching or drawing noteworthy

GLOSSARY: ACADEMIC / CONCEPT VOCABULARY

back in fear or shame emperor (EHM puhr uhr) n. ruler of highest rank and
cross-section (KRAWS sehk shuhn) n. view of a three- authority, especially of an empire
dimensional object that shows the interior as if a cut has encroaching (ehn KROHCH ihng) adj. intruding;
been made across the object steadily advancing
cunning (KUHN ihng) adj. done with skill or cleverness epiphany (ih PIHF uh nee) n. flash of insight and
understanding
D
equivocate (ih KWIHV uh kayt) v. use unclear language
dedicated (DEHD uh kayt ihd) adj. committed; devoted to avoid committing oneself to something
deduction (dih DUHK shuhn) n. the process of using espionage (EHS pee uh nozh) n. use of spies to obtain
reason or logic to come to a conclusion or form an opinion secret information
defamation (dehf uh MAY shuhn) n. unjust injury to establish (ehs TAB lihsh) v. set up; prove; demonstrate
someone’s good reputation through the making of false
statements etiquette (EHT uh kiht) n. proper manners
deference (DEHF uhr uhns) n. great respect exalted (ehg ZAWLT ihd) adj. of high rank
definitive (dih FIHN uh tihv) adj. deciding or settling a exasperating (ehg ZAS puh rayt ihng) adj. annoying
question; final exercise (EHK suhr syz) n. implementation; state of
degraded (dih GRAYD ihd) adj. reduced in putting something into action
respectablility; disgraced expression (ehk SPREHSH uhn) n. tone of voice that
deicide (DEE uh syd) n. killing of a god indicates specific emotion
dejected (dee JEHK tihd) adj. depressed; sad eyewitness account (Y WIHT nihs) (uh KOWNT) n.
description given by someone who was present at an event
demonstrate (DEHM uhn strayt) v. show how to do
something F
denounce (dih NOWNS) v. criticize harshly figure (FIHG yuhr) n. one of a set of drawings or
depth of field (dehpth) (uhv) (feeld) n. distance illustrations
between the closest and most distant objects that are in fix (fihks) n. difficult or awkward situation
focus
focal point (FOH kuhl) (poynt) n. center of activity or
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despotism (DEHS puh tihz uhm) n. absolute rule; attention in a photograph

tyranny
foment (foh MEHNT) v. stir up; agitate
determine (dih TUR muhn) v. decide; find out, as the
foreground (FAWR grownd) n. nearer or closer objects
reserved.

exact cause or reason

in a photograph
dictum (DIHK tuhm) n. short statement that expresses a
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general truth; saying or proverb forward (FAWR wuhrd) adj. bold; brazen; shameless
digress (dih GREHS) v. go off topic in speaking or frame (fraym) n. main spoken narrative of a production
writing framing (FRAYM ihng) n. composing a visual so that an
dilatory (dihl uh TAWR ee) adj. inclined to delay; slow enclosing border surrounds the image in the foreground
discern (dih SURN) v. recognize as different furtive (FUR tihv) adj. done or acting in a stealthy way
to avoid being noticed; secret

Academic / Concept Vocabulary  R39

 G J
garrulous (GAR uh luhs) adj. very talkative jurisdiction (juhr ihs DIHK shuhn) n. legal power to
gilded (GIHLD ihd) adj. covered with a thin layer of gold hear and decide cases
grandeur (GRAN juhr) n. state of being impressive; L
magnificence
labeling and captions (LAY buhl ihng) (KAP shuhnz)
H n. written labels and other text that often accompany
politically charged images to clarify their meanings
hallow (HAL oh) v. make sacred; consecrate
layout (LAY owt) n. overall design and look of a graphic
hangdog (HANG dawg) adj. sad; ashamed; guilty presentation
hermitage (HUR muh tihj) n. secluded retreat legacy (LEHG uh see) n. anything handed down from
hospitality (hos puh TAL uh tee) n. warm, welcoming someone
attitude toward guests letterhead (LEHT uhr hehd) n. personalized stationery
host (hohst) n. master of ceremonies, moderator, or literal (LIHT uhr uhl) adj. true to fact; not exaggerated
interviewer on a broadcast
loathsome (LOHTH suhm) adj. causing disgust
hypodermic (hy puh DUR mihk) n. injection of
medicine loitered (LOY tuhrd) v. lingered; moved slowly

M
GLOSSARY: ACADEMIC / CONCEPT VOCABULARY

I
immutable (ih MYOO tuh buhl) adj. never changing; machetes (muh SHEHT eez) n. knives
not changeable magistrates (MAJ uh strayts) n. officials who have some
impact (IHM pakt) n. collision; powerful or lasting effect of the powers of a judge
imperial (ihm PEER ee uhl) adj. like something malice (MAL ihs) n. desire to harm or inflict injury
associated with an empire; magnificent or majestic mission (MIHSH uhn) n. goal or ambition
imploring (ihm PLAWR ihng) v. asking or begging monotonous (muh NOT uh nuhs) adj. boring due to a
someone for something lack of variety
importunities (ihm pawr TOO nuh teez) n. annoyingly motifs (moh TEEFS) n. major themes, features, or
urgent requests elements
impressionism (ihm PREHSH uh nihz uhm) n. style of multitudes (MUHL tuh toodz) n. large number of
art where mood, color, and light matter more than details people or things; masses
incident (IHN suh duhnt) n. event; occurrence
O
indecisions (ihn dih SIHZH uhnz) n. things not decided
or finalized obdurate (OB duhr iht) adj. resistant to persuasion
infallibility (ihn fal uh BIHL uh tee) n. inability to be in obliged (uh BLYJD) adj. grateful
error oppressed (uh PREHST) v. deprived of rights or power
inflection (ihn FLEHK shuhn) n. rise and fall of pitch ornamented (AWR nuh mehnt ihd) adj. decorated;
and tone in a person’s voice adorned
informational (ihn fuhr MAY shuh nuhl) adj. giving overcast (OH vuhr kast) adj. covered with clouds, as a
knowledge and facts gray sky
infringed (ihn FRIHNJD) v. violated overture (OH vuhr chuhr) n. musical introduction to an
inquire (ihn KWYR) v. ask for information opera or symphony
instantaneously (ihn stuhn TAY nee uhs lee) adv. P
immediately
palette (PAL iht) n. range of colors used in a particular
insurgent (ihn SUR juhnt) adj. rebellious or in revolt
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work
against a government in power
perish (PEH rihsh) v. die
integrity (in TEHG rih tee) n. virtue of following moral
or ethical principles perpetually (puhr PEHCH oo uh lee) adv. happening
reserved.

all the time

interminable (ihn TUR muh nuh buhl) adj. seemingly
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unending persistence (puhr SIHS tuhns) n. act of not giving up

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interview (IHN tuhr vyoo) n. conversation in which a perspective (puhr SPEHK tihv) n. method of giving a
host asks questions of one or more guests sense of depth on a flat or shallow surface
petition (puh TIHSH uhn) v. formally request; seek help
from

R40  GLOSSARY
 picturesquely (pihk chuh REHSK lee) adv. in a way S
that resembles a picture; in a way that is striking or
salutary (SAL yuh tehr ee) adj. beneficial; promoting a
interesting
positive purpose
plaintiffs (PLAYN tihfs) n. people who bring a lawsuit
sanctity (SANGK tuh tee) n. fact of being sacred;
to court
holiness
policy (POL uh see) n. particular course of action by a
scourge (skurj) n. cause of serious trouble or suffering
person, government, organization
self-assurance (sehlf uh SHUR uhns) n. self-confidence
populist (POP yuh lihst) adj. related to serving the
needs of common people sequence (SEE kwuhns) n. particular order
prejudices (PREHJ uh dihs ihz) n. unfavorable opinions shotgun (SHOT guhn) n. gun with a long, smooth
or feelings formed beforehand or without factual support barrel, that is often used to fire “shot,” or small, pellet-like
ammunition
prelude (PRAY lood) n. introduction to a musical work;
overture shuffle (SHUHF uhl) n. dragging movement of the feet
over the ground or floor without lifting them
prescribed (prih SKRYBD) v. stated in writing; set down
as a rule sidle (SY duhl) v. move sideways, as in an unobtrusive,
stealthy, or shy manner
proceedings (pruh SEE dihngz) n. events in a court of
law significant (sihg NIHF uh kuhnt) adj. full of meaning;
important
prolific (pruh LIHF ihk) adj. fruitful; abundant

GLOSSARY: ACADEMIC / CONCEPT VOCABULARY

sinister (SIHN uh stuhr) adj. evil; threatening
propaganda (prop uh GAN duh) n. information, ideas,
or rumors spread widely and deliberately to help or harm a sovereign (SOV ruhn) n. monarch or ruler
person, group, movement, cause, or nation spatial (SPAY shuhl) adj. existing in space
protagonist (proh TAG uh nihst) n. main character in a special elements (SPEHSH uhl) (EHL uh muhnts) n.
play, story, or novel features that provide points of emphasis in a production
specific (spih SIHF ihk) adj. definite; precise; particular
Q
specifications (spehs uh fuh KAY shuhnz) n. section
quaint (kwaynt) adj. unusual; curious; singular
of a patent application in which the inventor fully describes
the invention
R
speech balloon (speech) (buh LOON) n. shape
racket (RAK iht) n. noisy confusion; uproar
used in graphic novels and comic books to show what a
realism (REE uh lihz uhm) n. style of art closely character says
resembling reality
squalor (SKWOL uhr) n. filth; wretchedness
rectitude (REHK tuh tood) n. morally correct behavior
stolid (STOL ihd) adj. feeling little or no emotion
or thinking; uprightness
strife (stryf) n. act of fighting
redeemers (rih DEE muhrz) n. people who pay for the
wrongdoing of others subordinate (suh BAWR duh niht) adj. having less
importance
redress (rih DREHS) n. correction; setting right of
some wrong sufficed (suh FYST) v. was adequate
relevant (REHL uh vuhnt) adj. puposeful; meaningful superannuated (soo puhr AN yu ayt uhd) adj. too old
to be usable; obsolete
remorseless (rih MAWRS lihs) adj. relentless; cruel
superfluous (suh PUR floo uhs) adj. more than is
renaissance (REHN uh sons) n. revival; period of
needed or wanted; unnecessary
cultural importance
supplanted (suh PLANT ihd) v. took the place of;
rend (rehnd) v. tear apart with violent force
removed
resolution (rehz uh LOO shuhn) n. act of coming to a
supplement (SUHP luh muhnt) n. something added;
decision; the part of a story in which the plot is made clear
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v. add to
reverence (REHV uhr uhns) n. feeling of deep respect
symbolism (SIHM buh lihz uhm) n. use of images or
rites (ryts) n. ceremonies objects to represent ideas or qualities
romanticism (roh MAN tuh sihz uhm) n. style of art
reserved.

evoking emotion by idealizing subjects T

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tedious (TEE dee uhs) adj. boring; dull

teeming (TEE mihng) adj. full

Academic / Concept Vocabulary  R41

 temporal (TEHM puhr uhl) adj. not eternal; limited by V
time
vassals (VAS uhlz) n. subjects of a kingdom; servants
tension (TEHN shuhn) n. mental or nervous stress;
vast (vast) adj. very great in size
uneasiness; state of strained relations
verbatim (vuhr BAY tihm) adv. in exactly the same
tone (tohn) n. production’s attitude toward a subject or
words; adj. repeating the original word for word
audience
vigilant (VIHJ uh luhnt) adj. on the alert; watchful
transcendent (tran SEHN duhnt) adj. beyond the limits
of possible experience vindictive (vihn DIHK tihv) adj. characterized by an
intense, unreasoning desire for revenge
treason (TREE zuhn) n. betrayal of trust or faith,
especially against one’s country vital (VY tuhl) adj. necessary or important
trivialize (TRIHV ee uhl yz) v. treat as not important;
make trivial W
tyranny (TIHR uh nee) n. oppressive power wanton (WON tuhn) adj. unrestrained; wild
waterfowl (WAWT uhr fowl) n. birds that live in or near
U water
unalienable (un AYL yuh nuh buhl) adj. impossible to wretched (REHCH ihd) adj. very unhappy; miserable
take away or give up
unique (yoo NEEK) adj. being the only one of its kind
GLOSSARY: ACADEMIC / CONCEPT VOCABULARY

unrequited (uhn rih KWY tihd) adj. not repaid or

avenged

Savvas
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reserved.

R42  GLOSSARY
 VOCABULARIO ACADÉMICO/
VOCABULARIO DE CONCEPTOS
abridging: abreviar v. limitar collaborator: colaboracionista s. persona que
acquiesce: consentir v. aceptar algo con pocas ganas colabora con o ayuda al enemigo
pero sin protestar colloquial: coloquial adj. lenguaje informal que se usa
adamant: terco/a adj. que no se deja convencer; en las conversaciones diarias
inflexible commentary: comentario s. observación o ejemplo que
ampler: más copioso/a adj. más abundante ilustra una idea, una opinión o explica algo
analyze: analizar v. examinar detalladamente y en composition: composición s. disposición de las partes
profundidad de una imagen, ya sea de un dibujo o de cualquier otro
formato visual

GLOSARIO: VOCABULARIO ACADÉMICO / VOCABULARIO DE CONCEPTOS

anticipation: anticipación s. expectación; espera
ansiosa conceded: concedió v. admitió
appeal: cautivar v. capacidad de atraer e involucrar al conciliatory: conciliador/a adj. que tiene la intención
público, sus pensamientos o emociones de hacer las paces y llegar a un acuerdo
ascendant: ascendente adj. que se mueve hacia arriba; conclave: cónclave s. reunión privada
que se eleva condemnation: condena s. fuerte desaprobación;
assent: consentimiento s. aprobación o acuerdo repulsa
assert: aseverar v. afirmar; insistir confirm: confirmar v. probar la certeza de algo; verificar
audio play: radioteatro s. obra de teatro producida consecrate: consagrar v. declarar algo como sagrado;
para la radio, para un podcast o para otro tipo de dedicar
grabación no visual ni impresa conspirators: conspiradores s. personas que se unen a
awkward: torpe adj. desmañado/a; sin gracia, patoso un plan secreto
constrains: constriñe v. requiere, obliga
B constricting: estrecho/a adj. limitado/a
backdrop: fondo s. escena o decorado detrás de conviction: condena s. acto de dar a alguien un
fotografías y retratos veredicto de culpabilidad
background: fondo s. objetos lejanos en una fotografía conviction: convicción s. creencia firme
brawling: pendenciero/a adj. que se pelea correlate: correlacionar v. mostrar la conexión entre
ruidosamente; alborotador/a dos elementos
brazenness: descaro s. no tener vergüenza; corrupted: corrupto/a adj. deshonesto/a
atrevimiento
cowering: achicarse v. encogerse de miedo
breadth: anchura s. amplitud
cross-section: sección transversal s. imagen de un
buttonholed: acorraló v. detuvo a alguien en una objeto tridimensional que muestra su interior como si se
conversación hubiera hecho un corte transversal del objeto
C cunning: astuto/a adj. con ingenio y astucia
cabana: cabaña s. tienda pequeña, choza D
callously: despiadadamente adv. sin compasión; dedicate: dedicar v. apartar para un objetivo especial
fríamente
deduction: deducción s. el proceso de usar la razón o
calumny: calumnia s. afirmación falsa que intenta herir la lógica para llegar a una conclusión o formar una opinion
o dañar
defamation: difamación s. dañar la reputación de
cantina: cantina s. taberna
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alguien injustamente mediante afirmaciones falsas

caption: leyenda s. en las novelas gráficas, texto en deference: deferencia s. gran respeto
un recuadro que presenta información que no puede
expresarse rápida y fácilmente en el diálogo defining: definir v. aclarar el significado; explicar
reserved.

captivity: cautividad s. estado de privación de libertad; definitive: definitivo adj. que decide y resuelve una
cuestión
Savvas

ser prisionero
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caricature: caricatura s. exageración, generalmente con degraded: degradado adj. con respetabilidad reducida;
efecto humorístico, de detalles relacionados con personas desgraciado
o sucesos en una tira cómica u otra imagen creada deicide: deicidio s. matar a un dios
certify: certificar v. declarar que algo es cierto dejected: abatido/a adj. deprimido/a; triste
clammy: sudado/a adj. frío y húmedo demonstrate: demostrar v. enseñar cómo hacer algo

Vocabulario académico / Vocabulario de conceptos  R43

 denounce: denunciar v. criticar duramente figure: figura s. grupo de dibujos o ilustraciones
depth of field: profundidad de campo s. la distancia fix: momento difícil s. una situación complicada
entre los objetos más cercanos y los más lejanos que focal point: punto de enfoque s. el centro de actividad
enfoca una cámara o de atención de una fotografía
despotism: despotismo s. ejercicio de autoridad foment: fomentar v. suscitar, promover; agitar
absoluta
foreground: primer plano s. objetos más cercanos en
determine: determinar v. decidir; buscar la causa o la una fotografía
razón exacta
forward: atrevido/a adj. audaz; descarado/a
dictum: dicho s. un enunciado corto que expresa una
verdad general; un refrán o proverbio frame: prototipo s. la narrativa oral principal de una
producción
digress: divagar v. desviarse del tema al hablar o
escribir framing: composición s. creación visual de forma que el
marco rodee la imagen del primer plano
GLOSARIO: VOCABULARIO ACADÉMICO / VOCABULARIO DE CONCEPTOS

dilatory: dilatorio/a adj. inclinado a retrasarse; lento/a

furtive: furtivo/a adj. hecho de forma sigilosa, a
discern: discernir v. reconocer como diferente ­escondidas, para evitar ser descubierto: secreto/a
disparity: disparidad s. gran diferencia o desigualdad
disposition: disposición s. el acto de llegar a un G
acuerdo en un caso o discusión; predisposición garrulous: charlatán/a adj. que habla mucho;
disputation: disputa s. debate o discusión parlanchín/a
dissented: disintió v. rechazó una opinion oficial; gilded: bañado en oro adj. cubierto con una capa fina
estuvo en desacuerdo de oro
documentary: documental s. programa o película que grandeur: esplendor s. magnificencia; grandeza;
ofrece datos o un informe sobre hechos reales majestuosidad
dyspepsia: dispepsia s. indigestión H
E hallow: santificar v. hacer sagrado; consagrar
effrontery: desfachatez s. descaro; desvergüenza hangdog: abatido/a adj. avergonzado/a; triste; culpable
eminence: eminencia s. persona con un cargo de gran heedless: ignorando adj. sin escuchar el consejo;
importancia o superioridad imprudente
eminent: eminente adj. distinguido; famoso; notorio hermitage: retiro s. lugar apartado, solitario
emperor: emperador s. gobernante supremo de un hospitality: hospitalidad s. actitud cálida de
imperio ­bienvenida hacia los invitados
encroaching: traspasar v. infringir; meterse; avanzar host: anfitrión s. maestro de ceremonia, moderador o
continuamente presentador de un programa
epiphany: epifanía s. sensación súbita de comprensión hypodermic: inyección hipodérmica s. inyección de
o entendimiento un medicamento
equivocate: usar equívocos v. usar un lenguaje I
ambiguo para evitar comprometerse a algo
immutable: inmutable adj. que no cambia nunca
espionage: espionaje s. uso de espías para obtener
información secreta impact: colisión s. choque; v. colisionar, chocar
establish: establecer v. instituir, crear, montar imperial: imperial adj. de calidad superior
etiquette: etiqueta s. buenos modales imploring: implorar v. pedir algo a alguien o suplicar
exalted: elevado/a adj. de alto rango importunities: importunidades s. peticiones urgentes
molestas
exasperating: exasperante adj. molesto
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impressionism: impresionismo s. estilo artístico en el

exercise: ejercicio s. implementación; puesta en práctica que el estado de ánimo, el color y la luz importan más que
expression: expresión s. tono de voz que indica una los detalles
emoción específica
reserved.

incident: incidente s. suceso

eyewitness account: declaración de un testigo s.
Savvas

indecisions: indecisiones s. cosas que no están

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descripción hecha por alguien que estuvo presente en un ­decididas o finalizadas

suceso
infallibility: infalibilidad s. imposibilidad de
F equivocarse
faultfinder: criticón/a adj. persona que critica con inflection: inflexión s. subidas y bajadas en el tono de
­frecuencia; un quejica voz de una persona

R44  GLOSARIO
 informational: informativo/a adj. que proporciona overture: obertura s. introducción musical de un ópera
conocimientos y hechos o sinfonía
infringed: infringió v. violó la ley
P
instantaneously: instantáneamente adv.
inmediatamente palette: paleta s. rango de colores usados en una obra
determinada
insurgent: insurgente adj. rebelde o que se rebela
­contra el gobierno en el poder perish: perecer v. morir; ser matado
integrity: integridad s. la virtud de seguir principios perpetually: perpetuamente adv. que sucede todo el
morales o éticos tiempo
interminable: interminable adj. que parece que no persistence: persistencia s. acción de no darse por
tiene fin vencido
interview: entrevista s. conversación en la que un perspective: perspectiva s. método mediante el cual se

GLOSARIO: VOCABULARIO ACADÉMICO / VOCABULARIO DE CONCEPTOS

­presentador hace preguntas a uno o más invitados le da sentido de profundidad a una superficie plana
inquire: inquirir v. solicitar información; indagar petition: petición s. hacer una solicitud formal; buscar
la ayuda de alguien
investigate: investigar v. indagar a fondo
picturesquely: de modo pintoresco adv. de manera
J que parece un cuadro; de manera sorprendente o
interesante
jurisdiction: jurisdicción s. poder legal para escuchar
una causa y dictar sentencia plaintiffs: demandantes s. las personas que interponen
una demanda en un juicio
L policy: política s. acciones específicas de una persona,
labeling and captions: rótulos y leyendas s. etiquetas gobierno u organización
y texto que suelen acompañar las imágenes de contenido populist: populista adj. persona que cree servir las
político para clarificar su significado necesidades del pueblo
layout: diseño s. la disposición gráfica de una prejudices: prejuicios s. sentimientos u opiniones
presentación desfavorables formados con anterioridad o sin apoyarse en
legacy: legado s. algo heredado, que se traspasa los hechos
letterhead: membrete s. papelería personalizada prelude: preludio s. introducción de una obra musical;
obertura
literal: literal adj. acorde a los hechos; sin exagerar
prescribed: prescrito v. manifestado por escrito;
loathsome: repugnante adj. que causa gran desagrado mandado
loitered: deambuló v. holgazaneó; que se movió proceedings: pleito s. proceso judicial, los sucesos de
despacio un juzgado
M prolific: prolífico adj. fructífero
machetes: machetes s. cuchillos propaganda: propaganda s. información, ideas o
rumores que se divulgan amplia y deliberadamente para
magistrates: magistrados s. cargos públicos que tienen hacerle daño a una persona, grupo, movimiento, causa o
el poder de un juez nación
majority: mayoría s. más de la mitad protagonist: protagonista s. el personaje principal de
malice: malicia s. deseo de herir a alguien una obra de teatro, cuento o novela
mission: misión s. objetivo o ambición
Q
monotonous: monótono/a adj. aburrido/a debido a la
falta de variación quaint: singular adj. inusual; curioso
motifs: motivos s. temas, características o elementos R
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principales
racket: barullo s. confusión ruidosa; jaleo
multitudes: multitudes s. gran número de personas
realism: realismo s. estilo artístico que se parece mucho
O a la realidad
reserved.

obdurate: obstinado/a adj. resistente a la persuasión rectitude: rectitud s. comportamiento o pensamiento

Savvas

moralmente correcto; integridad

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obliged: agradecido/a adj. que da las gracias

redeemers: redentores s. personas que pagan por las
oppressed: oprimidos/as s. personas cuyo derechos malas acciones de otros
son pisoteados por otros
redress: rectificación s. corrección reparación de un
ornamented: ornamentado adj. decorado; adornado daño
overcast: nublado adj. cubierto de nubes relevant: relevante adj. pertinente

Vocabulario académico / Vocabulario de conceptos  R45

 remorseless: despiadado/a adj. que no tiene subordinate: subordinado/a adj. que tiene menos
­remordimientos; cruel importancia
renaissance: renacimiento s. resurgimiento; periodo de subordinate: subordinado/a s. una persona de menor
importancia cultural rango o clase
rend: rasgar v. hacer pedazos con fuerza superannuated: viejo/a adj. demasiado viejo/a para
resolution: resolución s. acción de resolver o decidir; usarse; obsoleto/a
expresión formal de una opinión superfluous: superfluo/a adj. más de lo necesario o
reverence: reverencia s. sentimiento de profundo deseado; innecesario/a
respeto supplanted: suplantó v. tomó el lugar de; quitó a
rites: ritos s. ceremonias supplement: suplemento s. algo añadido
romanticism: romanticismo s. estilo artístico que surrealism: surrealismo s. uso intencional de detalles
evoca la emoción idealizando los sujetos imaginativos y hasta extraños en el arte
GLOSARIO: VOCABULARIO ACADÉMICO / VOCABULARIO DE CONCEPTOS

symbolism: simbolismo s. uso de imágenes u ­objetos

S para representar ideas o cualidades
salutary: saludable adj. beneficioso/a
sanctity: santidad s. hecho de ser sagrado T
scourge: azote s. causa de serios problemas o tedious: tedioso/a adj. aburrido/a, soso/a
sufrimiento teeming: repleto/a adj. lleno/a
self-assurance: autoconfianza s. seguridad en uno temporal: temporal adj. no eterno, limitado por el
mismo tiempo
sequence: secuencia s. en un orden particular; tension: tensión s. estrés causado al tirar
v. (secuenciar) poner en orden tone: tono s. la actitud de una producción hacia un tema
sequence photography: secuencia fotográfica o el público
n. una serie de imágenes en las que se ve el sujeto en transcendent: trascendente adj. más allá de los
instantes sucesivos límites de la experiencia posible
shotgun: escopeta s. arma de cañón largo, con treason: traición s. deslealtad hacia la confianza o la fe
­frecuencia usada para disparar perdigones
trivialize: trivializar v. quitar importancia; hacer trivial
shuffle: arrastrar los pies v. caminar sin levantar los
pies tyranny: tiranía s. poder opresivo
sidle: caminar de lado v. moverse de costado furtiva o U
tímidamente
unalienable: inalienable adj. imposible de quitar o de
significant: significativo/a adj. lleno/a de significado; abandonar
importante
unique: único/a adj. que es el único de su especie o tipo
sinister: siniestro adj. malvado; amenazador
unrequited: no correspondido adj. que no se ha liqui-
sovereign: soberano s. un monarca o gobernante dado o vengado
spatial: espacial adj. que existe en el espacio
special elements: elementos especiales s. V
­características que dan puntos de énfasis en una vassals: vasallos s. sujetos de un reino; siervos
producción vast: vasto/a adj. de gran tamaño
specific: específico/a adj. definido/a; preciso/a; verbatim: textualmente adv. palabra por palabra
particular
vigilant: vigilante adj. en alerta, atento/a
specifications: especificaciones s. apartado de una
patente en que el inventor describe con detalle el invento vindictive: vengativo/a adj. lleno/a de un deseo
intenso e irracional de venganza
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speech balloon: bocadillo s. el modo en que se

representa lo que dice cada personaje en las novelas W
gráficas
wanton: excesivo/a adj. descontrolado/a; sin ley
squalor: mugre s. suciedad; estado lamentable
reserved.

waterfowl: ave acuática s. relativo a las aves acuáticas

stolid: impasible adj. imperturbable; que no siente
Savvas

wretched: desdichado/a adj. muy infeliz; desgraciado/a

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emoción alguna
strife: lucha s. acción de luchar; conflicto

R46  GLOSARIO
 LITERARY TERMS HANDBOOK

ALLEGORY An allegory is a story or tale with two or CHARACTER A character is a person or an animal that
more levels of meaning—a literal level and one or more takes part in the action of a literary work. The following are
symbolic levels. The events, setting, and characters in an some terms used to describe various types of characters:
allegory are symbols for ideas and qualities. The main character in a literary work is the one on
ALLUSION An allusion is a reference to a well-known whom the work focuses. Major characters in a literary
person, place, event, literary work, or work of art. Writers work include the main character and any other characters
often make allusions to stories from the Bible, to Greek who play significant roles. A minor character is one who
and Roman myths, to plays by Shakespeare, to political and does not play a significant role. A round character is one
historical events, and to other materials with which they who is complex and multifaceted, like a real person. A flat
can expect their readers to be familiar. character is one who is one-dimensional. A dynamic
character is one who changes in the course of a work.
ANALOGY An analogy is an extended comparison of A static character is one who does not change in the
relationships. It is based on the idea that the relationship course of a work.
between one pair of things is like the relationship between
another pair. Unlike a metaphor, an analogy involves an CHARACTERIZATION Characterization is the
explicit comparison, often using the words like or as. act of creating and developing a character. In direct
characterization, a writer simply states a character’s
ANAPHORA Anaphora is a type of parallel structure in

GLOSSARY: LITERARY TERMS HANDBOOK

traits. In indirect characterization, character is revealed
which a word or phrase is repeated at the beginning of through one of the following means:
successive clauses for emphasis.
1. words, thoughts, or actions of the character
ANECDOTE An anecdote is a brief story about an 2. descriptions of the character’s appearance or
interesting, amusing, or strange event. An anecdote is told background
to entertain or to make a point.
3. what other characters say about the character
APPEAL An appeal is a rhetorical device used in
4. the ways in which other characters react to the
argumentative writing to persuade an audience.
character
An appeal to ethics (Ethos) shows that an argument is just
or fair. CLAIM A claim is a particular belief, conclusion, or point
of view that a writer presents in an argument.
An appeal to logic (Logos) shows that an argument is well
reasoned. CONCESSION Concession is a rhetorical device that
acknowledges the opposition’s arguments.
An appeal to authority shows that a higher power supports
the ideas. CONFLICT A conflict is a struggle between opposing
forces. Sometimes this struggle is internal, or within a
An appeal to emotion (Pathos) is designed to influence character. At other times, this struggle is external, or
readers’ feelings. between a character and an outside force. Conflict is one
ARGUMENT An argument is writing or speech that of the primary elements of narrative literature because
attempts to convince a reader to think or act in a particular most plots develop from conflicts.
way. An argument is a logical way of presenting a belief, CONNOTATION The connotation is an association that
conclusion, or stance. A good argument is supported with a word calls to mind in addition to the dictionary meaning
reasoning and evidence. of the word. Many words that are similar in their dictionary
AUTOBIOGRAPHY An autobiography is a form of meanings, or denotations, are quite different in their
nonfiction in which a person tells his or her own life story. connotations. Poets and other writers choose their words
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Memoirs, first-person accounts of personally or historically carefully so that the connotations of those words will be
significant events in which the writer was a participant or appropriate.
an eyewitness, are a form of autobiographical writing. COUNTERCLAIM A counterclaim is an objection or
reserved.

BIOGRAPHY A biography is a form of nonfiction in challange to the claim—or particular belief, conclusion,
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which a writer tells the life story of another person. or point of view—that a writer presents in an argument.
Counterclaims are often brought up by the writer of the
CATALOGUE A catalogue in poetry is a list of people, argument in anticipation of challenges.
objects, or situations, used to evoke a range of experience
and/or emotion. DENOTATION The denotation of a word is its objective
meaning, independent of other associations that the word
brings to mind.

Literary Terms Handbook  R47

 DESCRIPTION A description is a portrayal, in words, be classified according to purpose, such as cause-and-
of something that can be perceived by the senses. Writers effect, satirical, or reflective. Modes of discourse, such
create descriptions by using images. as expository, descriptive, persuasive, or narrative,
are other means of classifying essays.
DIALECT A dialect is the form of a language spoken
by people in a particular region or group. Writers often EXPLANATORY ESSAY An explanatory essay
use dialect to make their characters seem realistic and to describes and summarizes information gathered from a
create local color. number of sources on a concept.
DIALOGUE A dialogue is a conversation between FICTION Fiction is prose writing that tells about
characters. Writers use dialogue to reveal character, to imaginary characters and events. Short stories and novels
present events, to add variety to narratives, and to arouse are works of fiction.
their readers’ interest.
FIGURATIVE LANGUAGE Figurative language is
DICTION Diction is a writer’s or speaker’s word choice. writing or speech not meant to be taken literally. Writers
Diction is part of a writer’s style and may be described as use figurative language to express ideas in vivid and
formal or informal, plain or ornate, common or technical, imaginative ways.
abstract or concrete.
FIGURE OF SPEECH A figure of speech is an
DRAMA A drama is a story written to be performed expression or a word used imaginatively rather than
by actors. The playwright supplies dialogue for the literally.
characters to speak, as well as stage directions that give
FLASHBACK A flashback is a section of a literary work
information about costumes, lighting, scenery, properties,
GLOSSARY: LITERARY TERMS HANDBOOK

that interrupts the chronological presentation of events to

the setting, and the characters’ movements and ways of
relate an event from an earlier time. A writer may present
speaking. Dramatic conventions include soliloquies, asides,
a flashback as a character’s memory or recollection, as part
or the passage of time between acts or scenes. Dramatic
of an account or story told by a character, as a dream or
exposition is a brief essay, or prose commentary, inserted
a daydream, or simply by having the narrator switch to a
by the writer to help readers and producers understand the
time in the past.
characters and past conflicts. Background knowledge
includes information about the period during which the FORESHADOWING Foreshadowing in a literary work
action takes place. is the use of clues to suggest events that have yet to occur.
DRAMATIC MONOLOGUE A dramatic monologue is FRAME STORY A frame story is a story that brackets—
a poem or speech in which an imaginary character speaks or frames—another story or group of stories. This device
to a silent listener. creates a story-within-a-story narrative structure.
DRAMATIC POEM A dramatic poem is one that FREE VERSE  Free verse is poetry that lacks a regular
makes use of the conventions of drama. Such poems may rhythmical pattern, or meter. A writer of free verse is at
be monologues or dialogues or may present the speech of liberty to use any rhythms that are appropriate to what he
many characters. Robert Frost’s “The Death of the Hired or she is saying.
Man” is a famous example of a dramatic poem.
GENRE A genre is a division, or type, of literature.
See also Dramatic Monologue. Literature is commonly divided into three major genres:
EPIC THEME An epic theme is an underlying message poetry, prose, and drama. Each major genre can in turn be
that all people of all times are connected by their shared divided into smaller genres. Poetry can be divided into lyric,
experiences. concrete, dramatic, narrative, and epic poetry. Prose can be
divided into fiction and nonfiction. Drama can be divided
EDITORIAL An editorial is a form of persuasive writing into serious drama, tragedy, comic drama, melodrama, and
or argument. Editorials must have a clear position, be farce.
supported by reasons, and include an appeal to ethics,
logic, authority, and/or emotion. HUMOR Humor, used in an argument, can be an
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ELLIPTICAL PHRASING Elliptical phrasing is a style effective rhetorical device. Humorous language and details
of poetry in which the poet omits words that are expected make characters and situations seem funny.
to be understood by the reader.
reserved.

HYPERBOLE A hyperbole is a deliberate exaggeration

ENUMERATION Enumeration is a document style in
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which the major ideas are listed in numerical order.

IDIOMATIC EXPRESSION Idiomatic expressions are
ESSAY An essay is a short nonfiction work about a figures of speech that cannot be understood literally. For
particular subject. Essays can be classified as formal example, a rainstorm might be described as “raining cats
or informal, personal, or impersonal. They can also and dogs.”

R48  GLOSSARY
 IN MEDIA RES In media res, which is Latin for “in order in which events take place in time, though it may
the middle of things,” is a plot device writers use to grab include flashbacks and foreshadowing. Narratives may be
reader’s attention. true or fictional. Narration is one of the forms of discourse
and is used in novels, short stories, plays, narrative poems,
IMAGE An image is a word or phrase that appeals to
anecdotes, autobiographies, biographies, and reports.
one or more of the five senses—sight, hearing, touch,
taste, or smell. NARRATIVE A narrative is a story told in fiction,
IMAGERY Imagery is the descriptive or figurative nonfiction, poetry, or drama. Narratives are often classified
language used in literature to create word pictures for the by their content or purpose. An exploration narrative is
reader. These pictures, or images, are created by details of a firsthand account of an explorer’s travels in a new land.
sight, sound, taste, touch, smell, or movement. “The Interesting Narrative of the Life of Olaudah Equiano”
is a slave narrative, an account of the experiences of
INCONGRUITY Incongruity is a technique writers use an enslaved person. A historical narrative is a narrative
to create humor and occurs when two or more ideas relate account of significant historical events.
to one another in a way that is contrary to the readers’
expectations. A personal narrative is a first-person story about a
real-life experience. In a reflective narrative the author
IRONY Irony is a contrast between what is stated and describes describes his or her feelings about a scene,
what is meant, or between what is expected to happen incident, memory, or event. A nonlinear narrative does
and what actually happens. In verbal irony, a word not follow chronological order. It may contain flashbacks,
or a phrase is used to suggest the opposite of its usual dream sequences, or other devices that interrupt the
meaning. In dramatic irony, there is a contradiction

GLOSSARY: LITERARY TERMS HANDBOOK

chronological order of events.
between what a character thinks and what the reader or
audience knows. In irony of situation, an event occurs NARRATOR A narrator is a speaker or character who
that contradicts the expectations of the characters, of the tells a story. A story or novel may be narrated by a main
reader, or of the audience. character, by a minor character, or by someone uninvolved
in the story. The narrator may speak in the first person or in
LETTER A letter is a written message or communication the third person. An omniscient narrator is all-knowing,
addressed to a reader or readers and is generally sent by while a limited narrator knows only what one character
mail. Letters may be private or public, depending on their does.
intended audience. A public letter, also called a literary
letter or epistle, is a work of literature written in the NONFICTION Nonfiction is prose writing that presents
form of a personal letter but created for publication. and explains ideas or that tells about real people, places,
objects, or events. Two of the main types of literary
MEMOIR A memoir is a type of nonfiction nonfiction are historical writing and reflective writing.
autobiographical writing that tells about a person’s Essays, biographies, autobiographies, journals, and reports
own life, usually focusing on the writer’s involvement in are all examples of nonfiction.
historically or culturally significant events—either as a
participant or an eyewitness. NOVEL A novel is a long work of fiction. A novel often
has a complicated plot, many major and minor characters,
METAPHOR A metaphor is a figure of speech in which a significant theme, and several varied settings. Novels can
one thing is spoken of as though it were something else. be classified in many ways, based on the historical periods
The identification suggests a comparison between the two in which they are written, the subjects and themes that
things that are identified, as in “death is a long sleep.” they treat, the techniques that are used in them, and the
A mixed metaphor occurs when two metaphors are literary movements that inspired them. A novella is not as
jumbled together. For example, thorns and rain are long as a novel but is longer than a short story.
illogically mixed in “the thorns of life rained down on him.” ONOMATOPOEIA Onomatopoeia is the use of words
A dead metaphor is one that has been overused and has that imitate sounds. Examples of such words are buzz, hiss,
become a common expression, such as “the arm of the murmur, and rustle.
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chair” or “nightfall.”
ORATORY Oratory is public speaking that is formal,
MONOLOGUE A monologue is a speech delivered persuasive, and emotionally appealing. Patrick Henry’s
entirely by one person or character.
reserved.

“Speech in the Virginia Convention” (p. 100) is an example

MOTIF A motif is a recurrent, or repeated, object or idea of oratory.
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in a literary work. OXYMORON An oxymoron is a figure of speech

NARRATION Narration is writing that tells a story. that combines two opposing or contradictory ideas. An
The act of telling a story is also called narration. The oxymoron, such as “freezing fire,” suggests a paradox in
narrative, or story, is told by a storyteller called the just a few words.
narrator. A story is usually told chronologically, in the

Literary Terms Handbook  R49

 PACING Pacing is the speed or rhythm of writing. POINT OF VIEW Point of view is the perspective, or
Writers use different paces to achieve different effects, vantage point, from which a story is told. Three commonly
such as suspense. used points of view are first person, omniscient third
person, and limited third person.
PARADOX A paradox is a statement that seems to be
contradictory but that actually presents a truth. In the first-person point of view, the narrator is a
character in the story and refers to himself or herself with
PARALLELISM Parallelism is the presentation of similar
the first-person pronoun “I.”
ideas, in sequence, using the same grammatical structure.
The two kinds of third-person point of view, limited and
PARALLEL STRUCTURE In a list, each item should
omniscient, are called “third person” because the narrator
use parallel structure in which the part of speech and
uses third-person pronouns such as “he” and “she” to
grammatical phrasing is the same for all items.
refer to the characters. There is no “I” telling the story.
PERSONIFICATION Personification is a form of
In stories told from the omniscient third-person point
figurative language in which a nonhuman subject is given
of view, the narrator knows and tells about what each
human characteristics. Effective personification of things
character feels and thinks.
or ideas makes them seem vital and alive, as if they were
human. In stories told from the limited third-person point of
view, the narrator relates the inner thoughts and feelings
PHILOSOPHICAL ASSUMPTIONS Beliefs that are
of only one character, and everything is viewed from this
taken for granted are philosophical assumptions.
character’s perspective.
Some assumptions are explicit, or directly stated. Other
GLOSSARY: LITERARY TERMS HANDBOOK

assumptions are implicit, meaning the reader must make PREAMBLE A preamble is a statement that explains
inferences to understand. who is issuing the document and for what purpose.
PLOT Plot is the sequence of events in a literary work. PRIMARY SOURCE A primary source is one created by
In most fiction, the plot involves both characters and a someone who directly participated in or observed the event
central conflict. The plot usually begins with an exposition being described.
that introduces the setting, the characters, and the basic
PROSE Prose is the ordinary form of written language.
situation. This is followed by the inciting incident,
Most writing that is not poetry, drama, or song is
which introduces the central conflict. The conflict then
considered prose. Prose is one of the major genres of
increases during the development until it reaches a high
literature. It occurs in two forms: fiction and nonfiction.
point of interest or suspense, the climax. The climax is
followed by the end, or resolution, of the central conflict. PROTAGONIST The protagonist is the main character in a
Any events that occur after the resolution make up the literary work.
denouement. The events that lead up to the climax make
REFRAIN A refrain is a repeated line or group of lines in
up the rising action. The events that follow the climax
a poem or song. Most refrains end stanzas. Although some
make up the falling action.
refrains are nonsense lines, many increase suspense or
POETRY Poetry is one of the three major types emphasize character and theme.
of literature. In poetry, form and content are closely
REGIONALISM Regionalism in literature is the
connected, like the two faces of a single coin. Poems are
tendency among certain authors to write about specific
often divided into lines and stanzas and often employ
geographical areas. Regional writers present the distinct
regular rhythmical patterns, or meters. Most poems use
culture of an area, including its speech, customs, beliefs,
highly concise, musical, and emotionally charged language.
and history.
Many also make use of imagery, figurative language, and
special devices such as rhyme. RHETORICAL DEVICES Rhetorical devices are special
patterns of words and ideas that create emphasis
POETIC STRUCTURE The basic structures of poetry are
and stir emotion, especially in speeches or other oral
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lines and stanzas. A line is a group of words arranged in a

presentations. Parallelism, for example, is the repetition
row. A line of poetry may break, or end, in different ways.
of a grammatical structure in order to create a rhythm and
Varied line lengths can create unpredictable rhythms.
make words more memorable. Other common rhetorical
reserved.

An end-stopped line is one in which both the devices include: analogy, drawing comparisons between
grammatical structure and sense are complete at the end two unlike things; charged language, words that appeal
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of the line. to the emotions; concession, an acknowledgement of

the opposition’s argument; humor, using language and
A run-on, or enjambed, line is one in which both the
details that make characters or situations funny; paradox,
grammatical structure and sense continue past the end of
statements that seem to contradict but present a truth
the line.
restatement, expressing the same idea in different words,

R50  GLOSSARY
 rhetorical questions, questions with obvious answers, SERIAL COMMA A serial comma is a comma placed
tone, the author’s attitude toward the audience after each item in a list except for the final item.
RHYME Rhyme is the repetition of sounds at the ends of SIMILE A simile is a figure of speech that makes a direct
words. Rhyming words have identical vowel sounds in their comparison between two subjects, using either like or as.
final accented syllables. The consonants before the vowels
SLANT RHYME In slant rhyme, the final sounds in two
may be different, but any consonants occurring after
lines of a poem are similar, but not identical.
these vowels are the same, as in frog and bog or willow
and pillow. End rhyme occurs when rhyming words are SOCIAL COMMENTARY In works of social
repeated at the ends of lines. Internal rhyme occurs commentary, an author seeks to highlight, usually in a
when rhyming words fall within a line. Approximate, or critical way, an aspect of society.
slant, rhyme occurs when the rhyming sounds are similar,
SPEAKER The speaker is the voice of a poem. Although
but not exact, as in prove and glove.
the speaker is often the poet, the speaker may also be a
REPETITION Repetition of words and phrases is a fictional character or even an inanimate object or another
literary device used in prose and poetry to emphasize type of nonhuman entity. Interpreting a poem often
important ideas. depends upon recognizing who the speaker is, whom the
speaker is addressing, and what the speaker’s attitude, or
RHYTHM Rhythm is the pattern of beats, or stresses,
tone, is.
in spoken or written language. Prose and free verse are
written in the irregular rhythmical patterns of everyday STANZA A stanza is a group of lines in a poem that
speech. are considered to be a unit. Many poems are divided

GLOSSARY: LITERARY TERMS HANDBOOK

into stanzas that are separated by spaces. Stanzas often
RHETORICAL QUESTIONS Rhetorical questions call
function just like paragraphs in prose. Each stanza states
attention to an issue by implying obvious answers.
and develops a single main idea.
ROMANTICISM Romanticism was a literary and artistic
Stanzas are commonly named according to the number of
movement of the nineteenth century that arose in reaction
lines found in them, as follows:
to eighteenth-century Neoclassicism and placed a premium
on imagination, emotion, nature, individuality, and exotica. 1. Couplet: a two-line stanza
Romanticism is particularly evident in the works of the 2. Tercet: a three-line stanza
Transcendentalists. 3. Quatrain: a four-line stanza
SECONDARY SOURCE A secondary source is one 4. Cinquain: a five-line stanza
created by someone with indirect knowledge of the event 5. Sestet: a six-line stanza
being described. Secondary sources rely on primary
6. Heptastich: a seven-line stanza
sources, or firsthand descriptions.
7. Octave: an eight-line stanza
SENSORY LANGUAGE Sensory language is writing or
speech that appeals to one or more of the five senses. STREAM OF CONSCIOUSNESS Stream of
consciousness is a narrative technique that presents
SEQUENCE OF EVENTS Authors often use sequence thoughts as if they were coming directly from a character’s
of events, or the order in which things happened, to mind. Instead of being arranged in chronological order, the
structure nonfiction pieces that describe historical events events are presented from the character’s point of view,
or explain a change over time. Authors frequently describe mixed in with the character’s thoughts just as they might
important events in chronological order, or time order. spontaneously occur.
SETTING The setting of a literary work is the time and STYLE A writer’s style includes word choice, tone, degree
place of the action. A setting may serve any of a number of formality, figurative language, rhythm, grammatical
of functions. It may provide a background for the action. It structure, sentence length, organization—in short, every
may be a crucial element in the plot or central conflict. It feature of a writer’s use of language.
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may also create a certain emotional atmosphere, or mood.

SUSPENSE Suspense is a feeling of growing uncertainty
SHORT STORY A short story is a brief work of fiction. about the outcome of events. Writers create suspense by
The short story resembles the novel but generally has raising questions in the minds of their readers. Suspense
reserved.

a simpler plot and setting. In addition, the short story builds until the climax of the plot, at which point the
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developing it through many incidents. For example, Thomas

Wolfe’s “The Far and the Near” concentrates on what SYMBOL A symbol is anything that stands for or
happens to a train engineer when he visits people who had represents something else. A conventional symbol is
waved to him every day. one that is widely known and accepted, such as a voyage
symbolizing life or a skull symbolizing death. A personal

Literary Terms Handbook  R51

 symbol is one developed for a particular work by a nineteenth century. The Transcendentalists, who were
particular author. based in New England, believed that intuition and the
individual conscience “transcend” experience and thus
SYMBOLISM Symbolism refers to an author’s use of
are better guides to truth than the senses and logical
people, places, or objects to represent abstract qualities or
reason. Influenced by Romanticism, the Transcendentalists
ideas.
respected the individual spirit and the natural world,
SYNTAX Syntax is the structure of sentences. believing that divinity was present everywhere, in nature
and in each person.
THEME A theme is a central message or insight into life
revealed by a literary work. In most works of fiction, the USAGE Usage is the way in which a word or phrase is
theme is only indirectly stated: A story, poem, or play most used. The meaning, pronunciation, and spelling of some
often has an implied theme. words have changed over time.
TONE The tone of a literary work is the writer’s attitude VOICE A writer’s voice is the way in which the writer’s
toward his or her subject, characters, or audience. A writer’s personality is revealed in his or her writing. Elements that
tone may be formal or informal, friendly or distant, personal influence a writer’s style are diction, the types of words
or pompous. The tone of a work can also be described as used, syntax, the types of sentences used, and tone, the
technical, conversational, or colloquial. writer’s attitude toward the topic or audience.
TRANSCENDENTALISM Transcendentalism was
an American literary and philosophical movement of the
GLOSSARY: LITERARY TERMS HANDBOOK

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reserved.

R52  GLOSSARY
 LITERARY TERMS HANDBOOK

ALLEGORY / ALEGORÍA Una alegoría es un relato CATALOGUE / CATÁLOGO Un catálogo en poesía es

o cuento con dos niveles de significado: un nivel literal y una lista de gente, objetos o situaciones que se usan para
uno o más niveles simbólicos. Los hechos, ambientación evocar un abanico de experiencias o emociones.
y personajes de una alegoría son símbolos de ideas o
CHARACTER / PERSONAJE Un personaje es una
cualidades.
persona o animal que participa de la acción en una obra
ALLUSION / ALUSIÓN Una alusión es una referencia literaria. A continuación hay algunos términos que se usan
a una persona, lugar, hecho, obra literaria u obra de arte para describir varios tipos de personajes:
muy conocida. Los escritores a menudo hacen alusiones El protagonista, o personaje principal, en una
a relatos de la Biblia, a los mitos griegos y romanos, a las obra literaria es aquel en el que se centra la obra. Los
obras de Shakespeare, a hechos políticos e históricos y ­personajes importantes en una obra literaria incluyen el
a otros materiales con los que suponen que sus lectores personaje principal y otros personajes que tienen ­papeles
estén familiarizados. significativos. Un personaje menor es aquel que no tiene
ANALOGY / ANALOGÍA Una analogía establece una un papel importante. Un personaje ­complejo es aquel
comparación extensa de relaciones. Se basa en la idea de que muestra muchos rasgos diferentes. Un ­personaje
que la relación entre un par de cosas es como la relación plano muestra solo un rasgo. Un personaje dinámico
entre otro par. A diferencia de la metáfora, una analogía se desarrolla y crece en el curso del relato. Un personaje

GLOSSARY: LITERARY TERMS HANDBOOK

requiere una ­comparación explícita, a menudo usando las estático no cambia a lo largo de la obra.
palabras como o semejante. CHARACTERIZATION / CARACTERIZACIÓN 
ANAPHORA / ANÁFORA Una anáfora es un tipo de La caracterización es el acto de crear y desarrollar un
estructura paralela en la que una palabra o frase se repite personaje. En una caracterización directa, el autor
al principio de ­cláusulas consecutivas para dar énfasis. expresa explícitamente los rasgos de un personaje.
En una caracterización indirecta, el ­personaje se
ANECDOTE / ANÉCDOTA Una anécdota es un relato revela a partir de una de estas maneras:
breve sobre un hecho interesante, divertido o extraño, que
1. palabras, pensamientos o acciones del personaje
se narra con el fin de entretener o decir algo importante.
2. descripciones de la apariencia física del personaje o
APPEAL / APELACIÓN Una apelación es un recurso de su procedencia
retórico que se usa en los escritos de argumentación para
persuadir al público. 3. lo que otros personajes dicen sobre el personaje
Una apelación a la ética (Ethos) muestra que un 4. la forma en la que otros personajes reaccionan al
argumento es justo. personaje
Una apelación a la lógica (Logos) muestra que un CLAIM / AFIRMACIÓN Una afirmación es una opinión,
argumento está bien razonado. conclusión o punto de vista determinado que el escritor
Una apelación a la autoridad muestra que alguien impor- presenta mediante un argumento.
tante respalda las ideas.
CONCESSION / CONCESIÓN La concesión es un
Una apelación a las emociones (Pathos) tiene como fin recurso retórico que reconoce los argumentos de la
influenciar los sentimientos de los lectores. oposición.
ARGUMENT / ARGUMENTO Un argumento es un CONFLICT / CONFLICTO Un conflicto es una lucha
escrito o discurso que trata de convencer al lector para entre fuerzas opuestas. A veces la lucha es interna, o
que siga una acción o adopte una opinión en particular. dentro de un personaje. Otras veces la lucha es externa,
Un argumento es una manera lógica de presentar o entre un personaje y una fuerza exterior. El conflicto es
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una creencia, una conclusión o una postura. Un buen uno de los elementos principales de la literatura narrativa
argumento se respalda con ­razonamientos y pruebas. porque la mayoría de tramas se desarrollan a partir de
AUTOBIOGRAPHY / AUTOBIOGRAFÍA Una conflictos.
reserved.

autobiografía es una forma de no-ficción en la que una per- CONNOTATION / CONNOTACIÓN La connotación
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sona narra su propia vida. Las memorias son relatos en prim-

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es la asociación que una palabra trae a la mente, además

era persona de hechos personal o históricamente significativos de su definición del ­diccionario. Muchas palabras que
en los que el escritor participó o de los cuales fue testigo son similares en sus significados del diccionario, o
directo. Las memorias son una forma de escrito autobiográfico. denotaciones, son muy ­diferentes en sus connotaciones.
BIOGRAPHY / BIOGRAFÍA Una biografía es una Los poetas y otros escritores escogen sus palabras
forma de no-ficción en la que un escritor cuenta la vida cuidadosamente para que las ­connotaciones de esas
de otra persona. palabras sean apropiadas.

Manual de términos literarios  R53

 COUNTERCLAIM / CONTRAARGUMENTO  EDITORIAL / EDITORIAL Un editorial es una forma
Un contraargumento es una objeción o desafío a la de escritura persuasiva o argumento. Los editoriales deben
afirmación—u opinión, conclusión o punto de vista tener una postura clara, respaldarse con razonamientos e
determinado—que el escritor presenta en un argumento. incluir una apelación a la ética, a la lógica, a la autoridad o
El escritor suele incluir contraargumentos para anticiparse a a la emoción.
los desafíos.
ELLIPTICAL PHRASING / FRASEO ELÍPTICO El fraseo
DENOTATION / DENOTACIÓN La denotación de una elíptico es un estilo de poesía en el que el poeta omite
palabra es su significado objetivo, independientemente de palabras que se espera que sean comprendidas por el lector.
otras asociaciones que esa palabra traiga a la mente.
ENUMERATION / ENUMERACIÓN Una enumeración
DESCRIPTION / DESCRIPCIÓN Una descripción es un es un estilo de documento en el que las ideas principales
retrato en palabras de algo que se puede percibir con los se listan en orden numérico.
sentidos. Los escritores crean descripciones usando imágenes.
ESSAY / ENSAYO Un ensayo es una obra breve de
DIALECT / DIALECTO El dialecto es la forma de un no-ficción sobre un tema en particular. Los ensayos
lenguaje ­hablado por la gente en una región o grupo pueden ­clasificarse como formal o informal, personal
particular. Los escritores a menudo usan dialecto para o impersonal. También se pueden clasificar de acuerdo
hacer que sus ­personajes parezcan más reales y para a su propósito, como por ejemplo de causa y efecto,
reflejar el habla de una zona determinada. satírico o reflexivo. Otras maneras de clasificar ensayos
es por el modo de discurso, como por ejemplo expositivo,
DIALOGUE / DIÁLOGO Un diálogo es una
descriptivo, persuasivo o narrativo.
GLOSSARY: LITERARY TERMS HANDBOOK

conversación entre personajes. Los escritores usan el

diálogo para revelar personajes, para presentar hechos, EXPLANATORY ESSAY / ENSAYO EXPLICATIVO Un
para añadir variedad a la narración o para despertar el ensayo explicativo describe y resume información sobre
interés de los lectores. un concepto recogida a partir de varias fuentes.
DICTION / DICCIÓN La dicción comprende la elección FICTION / FICCIÓN La ficción es un escrito en prosa
de palabras que hace un autor o hablante. La dicción es que cuenta algo sobre personajes y hechos imaginarios.
parte del estilo de un escritor y se puede describir como Los cuentos y las novelas son obras de ficción.
formal o informal, sencilla u ornamentada, común o
FIGURATIVE LANGUAGE / LENGUAJE FIGURADO El
técnica, abstracta o concreta.
lenguaje figurado es un escrito o discurso que no se
DRAMA / DRAMA Un drama es una historia escrita debe interpretar literalmente. Los escritores usan lenguaje
para ser representada por actores. El guión de un drama figurado para expresar ideas de forma vívida e imaginativa.
proporciona el diálogo para que los personajes hablen,
FIGURE OF SPEECH / FIGURA RETÓRICA Una
así como las acotaciones que dan información sobre el
figura retória es una expresión o palabra usada de forma
vestuario, la iluminación, la ambientación, los objetos y la
imaginativa en vez de literal.
manera en la que los personajes se mueven o hablan. Las
convenciones dramáticas incluyen soliloquios, apartes, o FLASHBACK / FLASHBACK Un flashback o escena
el paso del tiempo entre actos o escenas. La exposición retrospectiva es una sección de una obra literaria que
dramática es un ensayo breve o comentario en prosa interrumple la presentación cronológica de los hechos para
del escritor y que tiene como objetivo que los lectores y relatar un hecho de un tiempo anterior. Un escritor puede
productores entiendan a los personajes y sus conflictos. presentar un flashback como el recuerdo de un personaje,
El conocimiento previo incluye información sobre el como parte de lo que cuenta un personaje, como un sueño
período en el cual tiene lugar la acción. o simplemente haciendo que el narrador cambie a un
tiempo en el pasado.
DRAMATIC MONOLOGUE / MONÓLOGO
DRAMÁTICO Un monólogo dramático es un poema o FORESHADOWING / PREFIGURACIÓN 
discurso en el que un personaje imaginario le habla a un La prefiguración es el uso, en una obra literaria,
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oyente silencioso. de claves que sugieren hechos que van a suceder.

DRAMATIC POEM / POEMA DRAMÁTICO Un FRAME STORY / CUENTO DE ENMARQUE Un
poema dramático es aquel que usa las reglas del drama. cuento de enmarque es un relato dentro del cual se
reserved.

Estos poemas pueden ser monólogos o diálogos o pueden incluye otro relato o relatos. Este recurso permite crear una
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presentar el parlamento de varios personajes. “The Death estructura narrativa del tipo “cuento dentro del cuento”.
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of the Hired Man” de Robert Frost es un ejemplo muy

FREE VERSE / VERSO LIBRE El verso libre es una forma
famoso de poema dramático.
poética en la que no se sigue un patrón regular de metro ni
Ver también monólogo dramático. de rima. Un escritor de verso libre tiene la libertad de usar
EPIC THEME / TEMA ÉPICO Un tema épico es el cualquier ritmo que sea apropiado a lo que está diciendo.
mensaje subyacente de que todas las personas de todas GENRE / GÉNERO Un género es una categoría o
las épocas están conectadas por experiencias compartidas. tipo de ­literatura. La literatura se divide por lo general
R54  GLOSARIO
 en tres géneros principales: poesía, prosa y drama. Cada en la ­participación del autor en hechos significativos
uno de estos géneros principales se dividen a su vez en históricos o culturales, ya sea como participante directo o
géneros más pequeños. La poesía se puede dividir en lírica, como testigo.
­concreta, dramática, narrativa y épica. La prosa se puede
METAPHOR / METÁFORA Una metáfora es una figura
dividir en ficción y no ficción. El drama se puede dividir en
literaria en la que algo se describe como si fuera otra cosa.
drama serio, tragedia, drama cómico, melodrama y farsa.
La identificación sugiere una comparación entre las dos cosas
HUMOR / HUMOR El humor, usado en un argumento, que se identifican, como “la muerte es un largo sueño”.
puede ser un recurso retórico efectivo. El lenguaje y los Una metáfora mixta ocurre cuando dos metáforas
detalles humorísticos pueden hacer que los personajes y se unen. Por ejemplo, las espinas y la lluvia se mezclan
las situaciones parezcan divertidos. ilógicamente en “le llovieron encima las espinas de la
HYPERBOLE / HIPÉRBOLE Una hipérbole es una vida”. Una metáfora muerta es aquella que se ha
exageración o ­magnificación deliberada que a menudo sobreutilizado mucho y se ha convertido en una expresión
se usa para producir un efecto cómico. común, como “el brazo del sillón” o “la noche que cae”.

IDIOMATIC EXPRESSION / EXPRESIÓN MONOLOGUE / MONÓLOGO Un monólogo es un

IDIOMÁTICA Las expresiones ­idiomáticas son discurso narrado por completo por una sola persona o
figuras retóricas que no se pueden entender literalmente. personaje.
Por ejemplo, una tormenta se puede describir como “llover MOTIF / MOTIVO El motivo es un objeto o idea que se
a cántaros”. repite de forma recurrente en una obra literaria.
IMAGE / IMAGEN Una imagen es una palabra o frase

GLOSSARY: LITERARY TERMS HANDBOOK

NARRATION / NARRACIÓN Una narración es un
que apela a uno o más de los cinco sentidos: la vista, el escrito que cuenta una historia. El acto de contar una
oído, el tacto, el gusto o el olfato. historia de forma oral también se llama narración. La
IMAGERY / IMÁGENES Las imágenes son el lenguaje narrativa, o relato, la cuenta el narrador. Un relato
figurado o descriptivo que se usa en la literatura para crear generalmente se cuenta en orden cronológico, en el
una descripción verbal para los lectores. Estas descripciones orden en el que suceden los hechos, aunque puede
verbales, o imágenes, se crean incluyendo detalles visuales, incluir flashbacks y prefiguración. Las narrativas pueden
auditivos, gustativos, táctiles, olfativos o de movimiento. ser verdaderas o inventadas. La narración es una de
las muchas formas de discurso que existen y se usa en
IN MEDIA RES / IN MEDIA RES In media res, que novelas, cuentos, obras de teatro, poemas narrativos,
quiere decir “en el medio de las cosas” en latín, es un anécdotas, autobiografías, biografías e informes.
resurso que usan los escritores para captar la atención
del lector. NARRATIVE / RELATO Se llama relato a la historia
que se narra en una obra de ficción, de no-ficción, en un
INCONGRUITY / INCONGRUENCIA La incongruencia poema o en un drama. Los relatos a menudo se clasifican
es una técnica que usan los escritores para crear humor y por su contenido o propósito. Un relato de exploración
ocurre cuando dos o más ideas se relacionan entre sí de es una narración en primera persona de los viajes de un
una manera que no es de la esperada por el lector. explorador en una tierra desconocida. “The Interesting
IRONY / IRONÍA Ironía es un contraste entre lo que se Narrative of the Life of Olaudah Equiano” es un relato
dice y lo que se quiere decir, o entre lo que se espera que de esclavos, la ­narración de las experiencias de una
ocurra y lo que pasa en realidad. En una ironía verbal, persona esclavizada. Un relato histórico es la narración
las palabras se usan para sugerir lo opuesto a lo que se de hechos históricos significativos. Un relato personal
dice. En la ironía dramática hay una contradicción entre es una narración en primera persona sobre una experiencia
lo que el personaje piensa y lo que el lector o la audiencia real. En un relato de reflexión el autor describe sus
sabe que es verdad. En una ironía situacional, ocurre un sentimientos sobre una escena, incidente, recuerdo o
suceso que contradice directamente las expectativas de los hecho. Un relato no lineal no sigue el orden cronológico.
personajes, del lector o de la audiencia. Puede contener flashbacks, secuencias de sueño u
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otros recursos que interrumpen el orden cronológico de

LETTER / CARTA Una carta es un mensaje escrito los hechos.
dirigido a un lector o lectores y generalmente se envía
NARRATOR / NARRADOR Un narrador es el hablante
reserved.

por correo. Las cartas pueden ser privadas o públicas,

dependiendo de la audiencia a la que van dirigidas. o el personaje que cuenta una historia. El cuento o novela
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lo puede narrar un personaje principal, un personaje menor

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Una carta pública, también llamada carta literaria o

epístola, es una obra literara escrita en forma de carta o alguien que no está involucrado en la trama. El narrador
personal pero creada para ser publicada. puede hablar en primera persona o en tercera persona. Un
narrador omnisciente lo sabe todo, mientras que un
MEMOIR / MEMORIAS Unas memorias son un tipo narrador limitado sólo sabe lo que hace un personaje.
de escrito de no ficción autobiográfica en el que el autor
cuenta algo de su propia vida, generalmente centrándose

Manual de términos literarios  R55

 NONFICTION / NO-FICCIÓN La no-ficción es un PLOT / TRAMA o ARGUMENTO La trama o
escrito en prosa que presenta y explica ideas o cuenta algo argumento es la secuencia de los eventos que suceden
acerca de personas, lugares, ideas o hechos reales. Dos en una obra literaria. En la mayoría de las obras de
de los tipos ­principales de literatura de no-ficción son los ficción, la trama implica tanto a los personajes como al
escritos históricos y los escritos de reflexión. Los ensayos, conflicto central. La trama por lo general empieza con
las biografías, las autobiografías, los diarios y los reportajes una exposición que introduce la ambientación, los
son todos ­ejemplos de no-ficción. personajes y la situación básica. A ello le sigue el suceso
desencadenante, que introduce el conflicto central.
NOVEL / NOVELA Una novela es una obra extensa
Este conflicto aumenta durante el desarrollo hasta que
de ficción. A menudo tiene una trama complicada,
alcanza el punto más alto de interés o suspenso, llamado
con personajes principales y secundarios, con un tema
clímax. Al clímax le sigue el final o resolución del conflicto
significativo y una ambientación variada. Las novelas pueden
central. Todos los hechos que ­ocurren después de la
clasificarse de muchas maneras, basadas en los periodos
resolución, forman el desenlace. Todos los sucesos que
históricos en los que se escribieron, en los temas que tratan,
conducen al clímax constituyen la acción dramática
en las técnicas que se usan en ellas y en los movimientos
creciente. Los sucesos que siguen al clímax forman la
literarios que las inspiraron. Una novela corta no es tan
acción dramática decreciente.
extensa como una novela, pero es más larga que un cuento.
POETIC STRUCTURE / ESTRUCTURA POÉTICA Las
ONOMATOPOEIA / ONOMATOPEYA La onomatopeya
estructuras poéticas básicas son los versos y las
es el uso de palabras que imitan sonidos, tales como zum, pío-
estrofas. Un verso es un grupo de palabras ordenadas en
pío, ­tic-tac o susurro.
un mismo renglón. Un verso puede terminar, o cortarse,
GLOSSARY: LITERARY TERMS HANDBOOK

ORATORY / ORATORIA La oratoria es hablar en de distintas maneras. La variedad en la extensión de los

público de ­manera formal, persuasiva y emocionalmente versos crea ritmos inesperados.
atractiva. El “Discurso en la Convención de Virginia” es un En un verso no encabalgado la estructura gramatical y
ejemplo de oratoria. el sentido se completan al final de esa línea.
OXYMORON / OXÍMORON Un oxímoron es una En un verso encabalgado tanto la estructura gramatical
figura literaria que combina dos ideas opuestas o como el ­sentido de una línea continúa en el verso que sigue.
contradictorias. Un oxímoron, como “fuego helado”,
sugiere una paradoja en solo unas palabras. POETRY / POESÍA La poesía es uno de los tres géneros
literarios más importantes. En poesía, la forma y el contenido
PACING / RITMO LITERARIO El ritmo literario es están íntimamente relacionados, como dos caras de la
la velocidad o el paso de la escritura. Los escritores usan misma moneda. Los poemas a menudo se dividen en versos
diferentes ritmos literarios para lograr distintos efectos, y estrofas y emplean patrones rítmicos regulares, llamados
como el suspenso. metros. La mayoría de los poemas están escritos en un
PARADOX / PARADOJA Una paradoja es un lenguaje altamente conciso, musical y emocionalmente rico.
enunciado que parece contradictorio pero que sin embargo Muchos también hacen uso de imágenes, de figuras retóricas
presenta una verdad. y de sonoros, tales como la rima.

PARALLELISM / PARALELISMO El paralelismo es la POINT OF VIEW / PUNTO DE VISTA El punto de

presentación de ideas similares, en secuencia, usando la vista es la perspectiva desde la cual se narran o describen
misma estructura gramatical. los hechos de un relato. Tres puntos de vista que se usan
frecuentemente son: primera persona, tercera persona
PARALLEL STRUCTURE / ESTRUCTURA omnisciente y tercera persona limitada.
PARALELA En una lista, cada objeto listado debe usar En el punto de vista de primera persona, el narrador
estructura paralela en la cual la ­morfología y frase es un personaje del relato y se refiere a sí mismo con el
gramatical sea igual para todos los objetos. pronombre de primera persona “yo”.
PERSONIFICATION / PERSONIFICACIÓN  Los dos tipos de punto de vista de tercera persona, ­limitado y
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La personificación es una forma de lenguaje figurado en omnisciente, se llaman “tercera persona” porque el narrador
la que se da rasgos y actitudes humanas a un sujeto no usa pronombres de tercera persona como “él o “ella” para
humano. La personificación ­efectiva de cosas o ideas hace referirse a los personajes. No hay “yo” que narre la historia.
reserved.

que se vean llenas de vida, como si fueran humanas.

En los relatos contados desde el punto de vista de
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PHILOSOPHICAL ASSUMPTIONS / SUPOSICIONES tercera persona omnisciente, el narrador conoce y

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FILOSÓFICAS Las creencias que se dan por sentadas cuenta cosas sobre lo que cada personaje piensa y siente.
son suposiciones filosóficas. Algunas suposiciones son En los relatos contados desde el punto de vista de
explícitas, o enunciadas directamente. Otras suposiciones tercera persona limitada, el narrador relata los
son implícitas, que quiere decir que el lector debe hacer pensamientos internos y sentimientos de sólo un personaje
inferencias para comprenderlas. y todo se ve desde el punto de vista de ese personaje.

R56  GLOSARIO
 PREAMBLE / PREÁMBULO El preámbulo es un consonantes que están antes de esas vocales acentuadas
enunciado que explica quién expide un documento y pueden ser diferentes, pero las consonantes que estén
con qué propósito. después de esas vocales deben ser iguales, como en frog
y bog o en willow y pillow. La rima de final de verso
PRIMARY SOURCE / FUENTE PRIMARIA Una fuente
tiene lugar cuando se repiten las palabras que riman al
primaria es la que ha sido creada por alguien que
final de dos o más versos. La rima interna se produce
participó u observó directamente el suceso que se describe.
cuando las palabras que riman están en el mismo verso.
PROSE / PROSA La prosa es la forma común del La rima aproximada tiene lugar cuando los sonidos son
lenguaje escrito. La mayoría de los escritos que no son parecidos pero no exactos, como en prove y glove.
poesía, ni drama, ni canciones, se consideran prosa. La
RITMO El ritmo es el patrón de cadencia o acentuación
prosa es uno de los géneros literarios más importantes y
en la lengua hablada o escrita. La prosa y el verso libre se
puede ser de dos ­formas: de ficción y de no-ficción.
escriben en los patrones rítmicos irregulares del lenguaje
PROTAGONIST / PROTAGONISTA El o la protagonista hablado cotidiano.
es el personaje principal de una obra literaria.
ROMANTICISM / ROMANTICISMO El romanticismo
REFRAIN / REFRÁN Un refrán es un verso o grupo fue un movimiento literario y artístico del siglo. XIX que
de versos que se repite en un poema o canción. Muchos surgió como reacción contra el neoclasicismo del siglo.
refranes terminan estrofas. Si bien es cierto que algunos XVII y que daba énfasis a la imaginación, la emoción, la
refranes no tienen sentido, la mayoría sirve para aumentar el naturaleza, la individualidad y lo extótico. El romanticismo
suspenso o para realzar un personaje o enfatizar un tema. es particularmente evidente en las obras de los

GLOSSARY: LITERARY TERMS HANDBOOK

transcendentalistas.
REGIONALISM / REGIONALISMO El regionalismo
en literatura es la tendencia entre ciertos autores a SECONDARY SOURCE / FUENTE SECUNDARIA Una
escribir sobre áreas geográficas específicas. Los escritores fuente secundaria es la que ha sido creada por alguien
regionales presentan la cultura específica de un área, con información indirecta del suceso que se describe. Las
incluyendo su dialecto, costumbres, creencias e historia. fuentes secundarias dependen de las fuentes primarias,
o descripciones de primera mano.
REPETITION / REPETICIÓN La repetición de palabras
y frases es un recurso literario que se usa en prosa y poesía SENSORY LANGUAGE / LENGUAJE SENSORIAL El
para dar énfasis a ideas importantes. lenguaje sensorial es un escrito o discurso que incluye
detalles que apelan a uno o más de los sentidos.
RHETORICAL DEVICES / FIGURAS RETÓRICAS Las
figuras retóricas son patrones especiales de palabras e SEQUENCE OF EVENTS / SECUENCIA DE
ideas que dan énfasis y producen emoción, especialmente SUCESOS Los autores a menudo usan la secuencia
en discursos y otras presentaciones orales. El paralelismo, de sucesos, o el orden en que sucenden las cosas, para
por ejemplo, es la repetición de una estructura gramatical estructurar piezas de no ficción que describen hechos
con el propósito de crear un ritmo y hacer que las palabras históricos o que explican cambios a lo largo del tiempo.
resulten más memorables. Los autores frecuentemente describen hechos importantes
Otras figuras retóricas muy frecuentes son: la analogía, en orden cronológico, u orden de tiempo.
que establece una comparación entre dos cosas difer- SETTING / AMBIENTACIÓN La ambientación de una
entes; el lenguaje emocionalmente cargado, en el obra literaria es la época y el lugar en el que se desarrolla
que las palabras apelan a las emociones; la concesión, la acción. La ambientación puede servir varias funciones.
mediante la que se acepta el argumento del oponente; Puede proporcionar el telón de fondo para la acción. Puede
el humor, que usa el lenguaje y los detalles para hacer ser un elemento crucial en la trama o conflicto central.
que los personajes o las situaciones resulten cómicas; la También puede crear una atmósfera emotiva.
paradoja, enunciados que parecen contradecirse pero
que presentan una verdad; la reafirmación, en la que SHORT STORY / CUENTO Un cuento es una obra breve
se expresa la misma idea con distintas palabras; las de ficción. El cuento se parece a la novela, pero suele
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preguntas retóricas, que son interrogaciones cuyas tener una trama y ambientación más sencillas. Además,
respuestas son obvias; el tono, la actitud del autor hacia el cuento tiende a revelar el carácter de los personajes
la audiencia. en un momento particular en lugar de irlo desarrollando
reserved.

a lo largo de numerosos acontecimientos. Por ejemplo, el

RHETORICAL QUESTIONS / PREGUNTAS cuento “The Far and the Near” de Thomas Wolfe se centra
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RETÓRICAS Las preguntas retóricas ­llaman la

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en lo que le sucede a un maquinista cuando visita a la

atención a un hecho al insinuar respuestas obvias. gente que lo ha saludado diariamente.
RIMA La rima es la repetición de los sonidos finales SERIAL COMMA / COMA EN SERIE En inglés, se pone
de las palabras. Las palabras que riman tienen sonidos una coma en serie después de cada objeto en una lista,
vocálicos iguales en las sílabas finales acentuadas. Las excepto en el objeto final.

Manual de términos literarios  R57

 SIMILE / SÍMIL Un símil es una figura retórica en la que Los escritores crean suspenso poniendo preguntas en la
se usa la palabra como para establecer una comparación mente de sus lectores. El suspenso crece hasta el clímax de
directa entre dos cosas. la trama, punto en el que alcanza su momento álgido.
SLANT RHYME / RIMA ASONANTE En una rima SYMBOL / SÍMBOLO Un símbolo es algo que
asonante los sonidos finales de dos versos del poema son representa otra cosa. Un símbolo convencional es uno
similares, pero no idénticos. ampliamente conocido y aceptado, como un viaje como
símbolo de la vida o una calavera como símbolo de la
SOCIAL COMMENTARY / COMENTARIO SOCIAL En
muerte. Un símbolo personal es el que desarrolla un
obras de comentario social, el autor tiene como objetivo
autor en concreto para una obra en particular.
resaltar, de forma crítica, un aspecto de la sociedad.
SYMBOLISM / SIMBOLISMO El simbolismo hace
SPEAKER / HABLANTE El hablante es la voz de un
referencia al uso de personas, lugares u objetos que usa un
poema. Aunque a menudo el hablante es el poeta, el
autor para representar cualidades o ideas abstractas.
hablante puede ser también un personaje imaginario o
incluso un objeto inanimado o cualquier otro tipo de sujeto SYNTAX / SINTAXIS La sintaxis es la estructura de las
no humano. Interpretar un poema a menudo depende oraciones.
de reconocer quién es el hablante, a quién se dirige el
THEME / TEMA Un tema es el mensaje central o la
hablante y cuál es la actitud o tono del hablante.
concepción de la vida que revela una obra literaria. El tema
STANZA / ESTROFA Una estrofa es un grupo de versos de un ensayo a menudo se menciona directamente en la
en un poema que se consideran una unidad. Muchos tesis. En la mayoría de obras de ficción el tema se enuncia
GLOSSARY: LITERARY TERMS HANDBOOK

poemas se dividen en estrofas que están separadas por sólo indirectamente: un cuento, poema u obra de teatro a
espacios. Las estrofas a menudo funcionan como los menudo tienen un tema implícito.
párrafos en la prosa. Cada estrofa enuncia y desarrolla una
TONE / TONO El tono de una obra literaria es la
sola idea principal.
actitud del escritor hacia su tema, sus personajes o su
Las estrofas a menudo reciben su nombre del número de audiencia. El tono de un escritor puede ser formal o
versos que las componen, como siguen: informal, amistoso o distante, personal o pretencioso.
1. Pareado o dístico: estrofa de dos versos El tono de una obra también se puede describir como
2. terceta: estrofa de tres versos técnico, conversacional o coloquial.

3. cuarteta: estrofa de cuatro versos TRANSCENDENTALISM /TRANSCENDENTALISMO 

El transcendentalismo fue un movimiento estadoun-
4. quintilla: estrofa de cinco versos
idense literario y filosófico del siglo. XIX. Los transcen-
5. sextilla: estrofa de seis versos dentalistas, que estaban radicados en Nueva Inglaterra,
6. septeto: estrofa de siete versos creían que la intuición y consciencia individual “tran-
scendían” la experiencia y por tanto eran mejores guías
7. octavilla: estrofa de ocho versos
a la verdad que los sentidos y la razón lógica. Influidos
STREAM OF CONSCIOUSNESS / MONÓLOGO por el Romanticismo, los transcendentalistas respetaban
INTERIOR El monólogo interior es una técnica el espíritu individual y el mundo natural, creyendo que lo
narrativa que presenta los pensamientos como si vinieran divino estaba presente en todas partes, en la naturaleza y
directamente de la mente de un personaje. En vez de en cada persona.
ordenarse cronológicamente, los hechos se presentan USAGE / USO El uso es la manera en la que una palabra
desde el punto de vista del personaje, mezclados con los o frase se usa. El significado, pronunciación y ortografía de
pensamientos como si ocurrieran espontáneamente. algunas de las palabras ha cambiado con el tiempo.
STYLE / ESTILO El estilo de un escritor incluye su VOICE / VOZ La voz es el “sonido” distintivo de un
dicción, tono, grado de formalidad, lenguaje figurado, escritor, o la manera en que “habla” en la página. Se
ritmo, estructura gramatical, tamaño de las oraciones, relaciona a elementos tales como la dicción, los tipos
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organización, etc. En resumen, cada rasgo del uso del de palabras, la sintaxis, el tipo de oraciones empleadas
lenguaje de un escritor. y el tono, que es la actitud del autor hacia el tema o la
SUSPENSE / SUSPENSO El suspenso es la sensación audiencia.
reserved.

creciente de incertidumbre sobre el resultado de los hechos.

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R58  GLOSARIO
 GRAMMAR HANDBOOK

PARTS OF SPEECH

Every English word, depending on its meaning and its use

in a sentence, can be identified as one of the eight parts Verbs  A verb expresses action or the existence of a
of speech. These are nouns, pronouns, verbs, adjectives, state or condition.
adverbs, prepositions, conjunctions, and interjections.
Understanding the parts of speech will help you learn the An action verb tells what action someone or something
rules of English grammar and usage. is performing.
gather, read, work, jump, imagine, analyze, conclude
Nouns  A noun names a person, place, or thing. A A linking verb connects the subject with another word
common noun names any one of a class of persons, that identifies or describes the subject. The most common
places, or things. A proper noun names a specific linking verb is be.
person, place, or thing. appear, be, become, feel, look, remain, seem, smell,
Common Noun Proper Noun sound, stay, taste
writer, country, novel Charles Dickens, A helping verb, or auxiliary verb, is added to a main
Great Britain, Hard Times verb to make a verb phrase.
be, do, have, should, can, could, may, might, must,

GLOSSARY: GRAMMAR HANDBOOK

Pronouns  A pronoun is a word that stands for one or will, would
more nouns. The word to which a pronoun refers (whose
place it takes) is the antecedent of the pronoun. Adjectives  An adjective modifies a noun or pronoun
by describing it or giving it a more specific meaning. An
A personal pronoun refers to the person speaking (first
adjective answers the questions:
person); the person spoken to (second person); or the
person, place, or thing spoken about (third person). What kind? purple hat, happy face, loud sound
Which one? this bowl
Singular Plural
How many? three cars
First Person I, me, my, mine   we, us, our, ours
How much? enough food
Second Person you, your, yours you, your, yours
The articles the, a, and an are adjectives.
Third Person he, him, his, they, them,
she, her, hers, it, its their, theirs A proper adjective is an adjective derived from a proper
noun.
A reflexive pronoun reflects the action of a verb back on French, Shakespearean
its subject. It indicates that the person or thing performing
the action also is receiving the action.
I keep myself fit by taking a walk every day. Adverbs  An adverb modifies a verb, an adjective, or
another adverb by telling where, when, how, or to what
An intensive pronoun adds emphasis to a noun or extent.
pronoun. will answer soon, extremely sad, calls more often
It took the work of the president himself to pass the
law. Prepositions  A preposition relates a noun or pronoun
A demonstrative pronoun points out a specific person(s), that appears with it to another word in the sentence.
place(s), or thing(s). Dad made a meal for us. We talked till dusk. Bo
this, that, these, those missed school because of his illness.
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A relative pronoun begins a subordinate clause and

connects it to another idea in the sentence. Conjunctions  A conjunction connects words or
groups of words. A coordinating conjunction joins
that, which, who, whom, whose
reserved.

words or groups of words of equal rank.

An interrogative pronoun begins a question. bread and cheese, brief but powerful
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what, which, who, whom, whose

Correlative conjunctions are used in pairs to connect
An indefinite pronoun refers to a person, place, or words or groups of words of equal importance.
thing that may or may not be specifically named. both Luis and Rosa, neither you nor I
all, another, any, both, each, everyone,
few, most, none, no one, somebody

Grammar Handbook  R59

 PARTS OF SPEECH continued

Subordinating conjunctions indicate the connection

between two ideas by placing one below the other in rank Interjections  An interjection expresses feeling or
or importance. A subordinating conjunction introduces a emotion. It is not related to other words in the sentence.
subordinate, or dependent, clause. ah, hey, ouch, well, yippee
We will miss her if she leaves. Hank shrieked when
he slipped on the ice.

PHRASES AND CLAUSES

Phrases  A phrase is a group of words that does not have A gerund phrase consists of a gerund with any modifiers
both a subject and a verb and that functions as one part of or complements, all acting together as a noun.
speech. A phrase expresses an idea but cannot stand alone. Taking photographs of wildlife is her main
hobby. [acts as subject]
Prepositional Phrases  A prepositional phrase We always enjoy listening to live music. [acts as
is a group of words that begins with a preposition and object]
ends with a noun or pronoun that is the object of the An infinitive is a verb form, usually preceded by to, that
preposition. can act as a noun, an adjective, or an adverb.
before dawn    as a result of the rain
An infinitive phrase consists of an infinitive and its
GLOSSARY: GRAMMAR HANDBOOK

An adjective phrase is a prepositional phrase that modifiers or complements, and sometimes its subject, all
modifies a noun or pronoun. acting together as a single part of speech.
Eliza appreciates the beauty of a well-crafted She tries to get out into the wilderness often.
poem. [acts as a noun; direct object of tries]
An adverb phrase is a prepositional phrase that modifies The Tigers are the team to beat. [acts as an
a verb, an adjective, or an adverb. adjective; describes team]
She reads Spenser’s sonnets with great pleasure. I drove twenty miles to witness the event. [acts
as an adverb; tells why I drove]
Appositive Phrases  An appositive is a noun or
pronoun placed next to another noun or pronoun to add Clauses  A clause is a group of words with its own
information about it. An appositive phrase consists of subject and verb.
an appositive and its modifiers.
Mr. Roth, my music teacher, is sick. Independent Clauses  An independent clause can
stand by itself as a complete sentence.
Verbal Phrases  A verbal is a verb form that functions George Orwell wrote with extraordinary insight.
as a different part of speech (not as a verb) in a sentence.
Participles, gerunds, and infinitives are verbals. Subordinate Clauses  A subordinate clause, also called
A verbal phrase includes a verbal and any modifiers or a dependent clause, cannot stand by itself as a complete
complements it may have. Verbal phrases may function as sentence. Subordinate clauses always appear connected in
nouns, as adjectives, or as adverbs. some way with one or more independent clauses.
George Orwell, who wrote with extraordinary
A participle is a verb form that can act as an adjective. insight, produced many politically relevant works.
Present participles end in -ing; past participles of regular
An adjective clause is a subordinate clause that acts as
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verbs end in -ed.

an adjective. It modifies a noun or a pronoun by telling
A participial phrase consists of a participle and its what kind or which one. Also called relative clauses,
modifiers or complements. The entire phrase acts as an adjective clauses usually begin with a relative pronoun:
reserved.

adjective. who, which, that, whom, or whose.

Jenna’s backpack, loaded with equipment, was
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heavy. class.
Barking incessantly, the dogs chased the squirrels
out of sight. An adverb clause is a subordinate clause that, like an
adverb, modifies a verb, an adjective, or an adverb. An
A gerund is a verb form that ends in -ing and is used as adverb clause tells where, when, in what way, to what
a noun. extent, under what condition, or why.

R60  GLOSSARY
 PHRASES AND CLAUSES continued

The students will read another poetry collection if A noun clause is a subordinate clause that acts as a
their schedule allows. noun.
When I recited the poem, Mr. Lopez was William Blake survived on whatever he made as
impressed. an engraver.

Sentence Structure

Subject and Predicate  A sentence is a group of An objective complement is an adjective or noun that
words that expresses a complete thought. A sentence has appears with a direct object and describes or renames it.
two main parts: a subject and a predicate. The decision made her unhappy.
[The direct object is her.]
A fragment is a group of words that does not express a
complete thought. It lacks an independent clause. Many consider Shakespeare the greatest
playwright. [The direct object is Shakespeare.]
The subject tells whom or what the sentence is about.
The predicate tells what the subject of the sentence does A subject complement follows a linking verb and
or is. tells something about the subject. There are two kinds:
predicate nominatives and predicate adjectives.
A subject or a predicate can consist of a single word or
of many words. All the words in the subject make up the A predicate nominative is a noun or pronoun that
follows a linking verb and identifies or renames the

GLOSSARY: GRAMMAR HANDBOOK

complete subject. All the words in the predicate make
up the complete predicate. subject.
Complete Subject   Complete Predicate “A Modest Proposal” is a pamphlet.
Both of those girls | have already read Macbeth. A predicate adjective is an adjective that follows a
linking verb and describes the subject of the sentence.
The simple subject is the essential noun, pronoun, or
group of words acting as a noun that cannot be left out “A Modest Proposal” is satirical.
of the complete subject. The simple predicate is the
essential verb or verb phrase that cannot be left out of the Classifying Sentences by Structure 
complete predicate. Sentences can be classified according to the kind
Both of those girls | have already read Macbeth. and number of clauses they contain. The four basic
[Simple subject: Both; simple predicate: have read] sentence structures are simple, compound, complex, and
compound-complex.
A compound subject is two or more subjects that have
the same verb and are joined by a conjunction. A simple sentence consists of one independent clause.
Neither the horse nor the driver looked tired. Terrence enjoys modern British literature.
A compound predicate is two or more verbs that have A compound sentence consists of two or more
the same subject and are joined by a conjunction. independent clauses. The clauses are joined by a
She sneezed and coughed throughout the trip. conjunction or a semicolon.
Terrence enjoys modern British literature, but his
Complements  A complement is a word or word brother prefers the classics.
group that completes the meaning of the subject or verb A complex sentence consists of one independent clause
in a sentence. There are four kinds of complements: direct and one or more subordinate clauses.
objects, indirect objects, objective complements, and Terrence, who reads voraciously, enjoys modern
subject complements.
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British literature.
A direct object is a noun, a pronoun, or a group of
A compound-complex sentence consists of two or
words acting as a noun that receives the action of a
more independent clauses and one or more subordinate
transitive verb.
reserved.

clauses.
We watched the liftoff.
Terrence, who reads voraciously, enjoys modern
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She drove Zach to the launch site.

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British literature, but his brother prefers the classics.

An indirect object is a noun or pronoun that appears
with a direct object and names the person or thing to Classifying Sentences by Function
which or for which something is done.
Sentences can be classified according to their function
He sold the family a mirror. [The direct object is
or purpose. The four types are declarative, interrogative,
mirror.]
imperative, and exclamatory.

Grammar Handbook  R61

 Sentence Structure continued

A declarative sentence states an idea and ends with a An imperative sentence gives an order or a direction
period. and ends with either a period or an exclamation mark.
An interrogative sentence asks a question and ends An exclamatory sentence conveys a strong emotion and
with a question mark. ends with an exclamation mark.

Paragraph Structure

An effective paragraph is organized around one main Max went to the bakery, but he can’t buy mints
idea, which is often stated in a topic sentence. The there. [consistent]
other sentences support the main idea. To give the
paragraph unity, make sure the connection between each Unnecessary Shift in Voice
sentence and the main idea is clear.
Do not change needlessly from active voice to passive
voice in your use of verbs.
Unnecessary Shift in Person Elena and I searched the trail for evidence, but
Do not change needlessly from one grammatical person to no clues were found. [shift from active voice to
another. Keep the person consistent in your sentences. passive voice]
Max went to the bakery, but you can’t buy mints Elena and I searched the trail for evidence, but we
GLOSSARY: GRAMMAR HANDBOOK

there. [shift from third person to second person] found no clues. [consistent]

Agreement

Subject and Verb Agreement  Pronoun and Antecedent Agreement 

A singular subject must have a singular verb. A plural Pronouns must agree with their antecedents in number
subject must have a plural verb. and gender. Use singular pronouns with singular
Dr. Boone uses a telescope to view the night sky. antecedents and plural pronouns with plural antecedents.
The students use a telescope to view the night sky. Doris Lessing uses her writing to challenge ideas
about women’s roles.
A verb always agrees with its subject, not its object.
Writers often use their skills to promote social
Incorrect: The best part of the show were the change.
jugglers.
Correct: The best part of the show was the jugglers. Use a singular pronoun when the antecedent is a
singular indefinite pronoun such as anybody, each, either,
A phrase or clause that comes between a subject and verb everybody, neither, no one, one, or someone.
does not affect subject-verb agreement. Judge each of the articles on its merits.
His theory, as well as his claims, lacks support.
Use a plural pronoun when the antecedent is a plural
Two subjects joined by and usually take a plural verb. indefinite pronoun such as both, few, many, or several.
The dog and the cat are healthy. Both of the articles have their flaws.
Two singular subjects joined by or or nor take a singular The indefinite pronouns all, any, more, most, none, and
verb. some can be singular or plural depending on the number
The dog or the cat is hiding. of the word to which they refer.
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Two plural subjects joined by or or nor take a plural verb. Most of the books are in their proper places.
The dogs or the cats are coming home with us. Most of the book has been torn from its binding.

When a singular and a plural subject are joined by or or

reserved.

nor, the verb agrees with the closer subject.

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Either the cat or the dogs are behind the door.

R62  GLOSSARY
 Using Verbs

Principal Parts of Regular and Irregular Verbs  Daily exercise is good for your heallth.
A verb has four principal parts: The past tense expresses a completed action or a
Present Present Past Past condition that is no longer true.
The squirrel dropped the nut and ran up the tree.
Participle Participle
I was very tired last night by 9:00.
learn learning learned learned
discuss discussing discussed discussed The future tense indicates an action that will happen in
the future or a condition that will be true.
stand standing stood stood
The Glazers will visit us tomorrow.
begin beginning began begun They will be glad to arrive from their long journey.
Regular verbs such as learn and discuss form the past The present perfect tense expresses an action that
and past participle by adding -ed to the present form. happened at an indefinite time in the past or an action
Irregular verbs such as stand and begin form the past that began in the past and continues into the present.
and past participle in other ways. If you are in doubt about Someone has cleaned the trash from the park.
the principal parts of an irregular verb, check a dictionary.
The puppy has been under the bed all day.

The Tenses of Verbs  The past perfect tense shows an action that was
completed before another action in the past.
The different tenses of verbs indicate the time an action or
Gerard had revised his essay before he turned it in.

GLOSSARY: GRAMMAR HANDBOOK

condition occurs.
The future perfect tense indicates an action that will
The present tense expresses an action that happens
have been completed before another action takes place.
regularly or states a current condition or a general truth.
Mimi will have painted the kitchen by the time
Tourists flock to the site yearly.
we finish the shutters.

Using Modifiers

Degrees of Comparison  Using Comparative and Superlative Adjectives

Adjectives and adverbs take different forms to show the and Adverbs 
three degrees of comparison: the positive, the comparative, Use comparative adjectives and adverbs to compare two
and the superlative. things. Use superlative adjectives and adverbs to compare
three or more things.
Positive Comparative Superlative
This season’s weather was drier than last year’s.
fast faster fastest
This season has been one of the driest on record.
crafty craftier craftiest Jake practices more often than Jamal.
abruptly more abruptly most abruptly Of everyone in the band, Jake practices most often.
badly worse worst

Using Pronouns

Pronoun Case  They are going to the movies. [subject]

The case of a pronoun is the form it takes to show its The biggest movie fan is she. [predicate nominative]
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function in a sentence. There are three pronoun cases: Use the objective case for a pronoun acting as a direct
nominative, objective, and possessive. object, an indirect object, or the object of a preposition.
The ending of the play surprised me. [direct object]
Nominative Objective Possessive Mary gave us two tickets to the play. [indirect
reserved.

I, you, he, she, me, you, him, my, your, yours, object]
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The audience cheered for him. [object of

they them our, ours, their,
preposition]
theirs
Use the possessive case to show ownership.
Use the nominative case when a pronoun functions as a The red suitcase is hers.
subject or as a predicate nominative.

Grammar Handbook  R63

 Commonly Confused Words

Diction  The words you choose contribute to the overall bad, badly
effectiveness of your writing. Diction refers to word Use the adjective bad before a noun or after linking verbs
choice and to the clearness and correctness of those such as feel, look, and seem. Use badly whenever an
words. You can improve one aspect of your diction by adverb is required.
choosing carefully between commonly confused words, The situation may seem bad, but it will improve over
such as the pairs listed below. time.
accept, except Though our team played badly today, we will focus
Accept is a verb that means “to receive” or “to agree on practicing for the next match.
to.” Except is a preposition that means “other than” or beside, besides
“leaving out.” Beside means “at the side of” or “close to.” Besides means
Please accept my offer to buy you lunch this “in addition to.”
weekend. The stapler sits beside the pencil sharpener in our
He is busy every day except the weekends. classroom.
affect, effect Besides being very clean, the classroom is also very
Affect is normally a verb meaning “to influence” or “to organized.
bring about a change in.” Effect is usually a noun meaning can, may
“result.” The helping verb can generally refers to the ability to
The distractions outside affect Steven’s ability to do something. The helping verb may generally refers to
GLOSSARY: GRAMMAR HANDBOOK

concentrate. permission to do something.

The teacher’s remedies had a positive effect on I can run one mile in six minutes.
Steven’s ability to concentrate. May we have a race during recess?
among, between complement, compliment
Among is usually used with three or more items, and it The verb complement means “to enhance”; the verb
emphasizes collective relationships or indicates distribution. compliment means “to praise.”
Between is generally used with only two items, but it
Online exercises complement the textbook lessons.
can be used with more than two if the emphasis is on
Ms. Lewis complimented our team on our
individual (one-to-one) relationships within the group.
excellent debate.
I had to choose a snack among the various
vegetables. compose, comprise
He handed out the booklets among the conference Compose means “to make up; constitute.” Comprise
participants. means “to include or contain.” Remember that the whole
Our school is between a park and an old barn. comprises its parts or is composed of its parts, and the
The tournament included matches between France, parts compose the whole.
Spain, Mexico, and the United States. The assignment comprises three different tasks.
amount, number The assignment is composed of three different
tasks.
Amount refers to overall quantity and is mainly used with
Three different tasks compose the assignment.
mass nouns (those that can’t be counted). Number refers
to individual items that can be counted. different from, different than
The amount of attention that great writers have Different from is generally preferred over different than,
paid to Shakespeare is remarkable. but different than can be used before a clause. Always use
A number of important English writers have been different from before a noun or pronoun.
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fascinated by the legend of King Arthur. Your point of view is so different from mine.
assure, ensure, insure His idea was so different from [or different
than] what we had expected.
Assure means “to convince [someone of something];
reserved.

to guarantee.” Ensure means “to make certain [that farther, further

something happens].” Insure means “to arrange for Use farther to refer to distance. Use further to mean “to a
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payment in case of loss.” greater degree or extent” or “additional.”

The attorney assured us we’d win the case. Chiang has traveled farther than anybody else in the
The rules ensure that no one gets treated unfairly. class.
Many professional musicians insure their valuable If I want further details about his travels, I can read
instruments. his blog.

R64  GLOSSARY
 Commonly Confused Words continued

fewer, less His strange behavior was the principal reason for
Use fewer for things that can be counted. Use less for our concern.
amounts or quantities that cannot be counted. Fewer must Democratic principles form the basis of our
be followed by a plural noun. country’s laws.
Fewer students drive to school since the weather raise, rise
improved. Raise is a transitive verb that usually takes a direct object.
There is less noise outside in the mornings. Rise is intransitive and never takes a direct object.
good, well Iliana and Josef raise the flag every morning.
Use the adjective good before a noun or after a linking They rise from their seats and volunteer immediately
verb. Use well whenever an adverb is required, such as whenever help is needed.
when modifying a verb. than, then
I feel good after sleeping for eight hours. The conjunction than is used to connect the two parts of a
I did well on my test, and my soccer team played comparison. The adverb then usually refers to time.
well in that afternoon’s game. It was a good day! My backpack is heavier than hers.
its, it’s I will finish my homework and then meet my friends
The word its with no apostrophe is a possessive pronoun. at the park.
The word it’s is a contraction of “it is.” that, which, who
Angelica will try to fix the computer and its Use the relative pronoun that to refer to things or people.

GLOSSARY: GRAMMAR HANDBOOK

keyboard. Use which only for things and who only for people.
It’s a difficult job, but she can do it.
That introduces a restrictive phrase or clause, that is,
lay, lie one that is essential to the meaning of the sentence.
Lay is a transitive verb meaning “to set or put something Which introduces a nonrestrictive phrase or clause—one
down.” Its principal parts are lay, laying, laid, laid. Lie is that adds information but could be deleted from the
an intransitive verb meaning “to recline” or “to exist in a sentence—and is preceded by a comma.
certain place.” Its principal parts are lie, lying, lay, lain. Ben ran to the park that just reopened.
Please lay that box down and help me with the The park, which just reopened, has many
sofa. attractions.
When we are done moving, I am going to lie down. The man who built the park loves to see people
My hometown lies sixty miles north of here. smiling.
like, as when, where, why
Like is a preposition that usually means “similar to” and Do not use when, where, or why directly after a linking
precedes a noun or pronoun. The conjunction as means “in verb, such as is. Reword the sentence.
the way that” and usually precedes a clause. Incorrect: The morning is when he left for the beach.
Like the other students, I was prepared for a quiz. Correct: He left for the beach in the morning.
As I said yesterday, we expect to finish before noon. who, whom
Use such as, not like, before a series of examples. In formal writing, use who only as a subject in clauses and
Foods such as apples, nuts, and pretzels make sentences. Use whom only as the object of a verb or of a
good snacks. preposition.
of, have Who paid for the tickets?
Do not use of in place of have after auxiliary verbs such as Whom should I pay for the tickets?
Learning Company LLC.

would, could, should, may, might, or must. The contraction I can’t recall to whom I gave the money for the
of have is formed by adding -ve after these verbs. tickets.
I would have stayed after school today, but I had your, you’re
to help cook at home.
reserved.

Your is a possessive pronoun expressing ownership. You’re

Mom must’ve called while I was still in the gym. is the contraction of “you are.”
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principal, principle Have you finished writing your informative essay?

Principal can be an adjective meaning “main; most You’re supposed to turn it in tomorrow. If you’re
important.” It can also be a noun meaning “chief officer late, your grade will be affected.
of a school.” Principle is a noun meaning “moral rule” or
“fundamental truth.”

Grammar Handbook  R65

 Editing For English Language Conventions

Capitalization Commas
First Words Use a comma before a coordinating conjunction to
Capitalize the first word of a sentence. separate two independent clauses in a compound
Stories about knights and their deeds interest me. sentence.
The game was very close, but we were victorious.
Capitalize the first word of direct speech.
Sharon asked, “Do you like stories about knights?” Use commas to separate three or more words, phrases, or
clauses in a series.
Capitalize the first word of a quotation that is a complete
William Blake was a writer, artist, and printer.
sentence.
Einstein said, “Anyone who has never made a mistake Use commas to separate coordinate adjectives.
has never tried anything new.” It was a witty, amusing novel.
Proper Nouns and Proper Adjectives Use a comma after an introductory word, phrase, or
clause.
Capitalize all proper nouns, including geographical names,
When the novelist finished his book, he celebrated
historical events and periods, and names of organizations.
with his family.
Thames River   John Keats   the Renaissance
United Nations  World War II  Sierra Nevada Use commas to set off nonessential expressions.
Old English, of course, requires translation.
Capitalize all proper adjectives.
Shakespearean play   British invaision Use commas with places and dates.
Coventry, England      September 1, 1939
GLOSSARY: GRAMMAR HANDBOOK

American citizen    Latin American literature

Academic Course Names Semicolons
Capitalize course names only if they are language courses, Use a semicolon to join closely related independent
are followed by a number, or are preceded by a proper clauses that are not already joined by a conjunction.
noun or adjective. Tanya likes to write poetry; Heather prefers prose.
Spanish  Honors Chemistry  History 101 Use semicolons to avoid confusion when items in a series
geology  algebra      social studies contain commas.
Titles They traveled to London, England; Madrid, Spain;
and Rome, Italy.
Capitalize personal titles when followed by the person’s
name. Colons
Ms. Hughes  Dr. Perez  King George Use a colon before a list of items following an
independent clause.
Capitalize titles showing family relationships when they
are followed by a specific person’s name, unless they are Notable Victorian poets include the following:
preceded by a possessive noun or pronoun. Tennyson, Arnold, Housman, and Hopkins.
Uncle Oscar  Mangan’s sister  his aunt Tessa Use a colon to introduce information that summarizes or
explains the independent clause before it.
Capitalize the first word and all other key words in the
titles of books, stories, songs, and other works of art. She just wanted to do one thing: rest.
Frankenstein    “Shooting an Elephant” Malcolm loves volunteering: He reads to sick children
every Saturday afternoon.
Punctuation Quotation Marks
End Marks Use quotation marks to enclose a direct quotation.
Use a period to end a declarative sentence or an “Short stories,“ Ms. Hildebrand said, “should have
rich, well-developed characters.“
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imperative sentence.
We are studying the structure of sonnets. An indirect quotation does not require quotation
Read the biography of Mary Shelley. marks.
Ms. Hildebrand said that short stories should have
reserved.

Use periods with initials and abbreviations.

D. H. Lawrence    Mrs. Browning well-developed characters.
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Mt. Everest     Maple St. Use quotation marks around the titles of short written
works, episodes in a series, songs, and works mentioned
Use a question mark to end an interrogative sentence.
as parts of collections.
What is Macbeth’s fatal flaw?
“The Lagoon”   “Boswell Meets Johnson”
Use an exclamation mark after an exclamatory sentence
or a forceful imperative sentence.
That’s a beautiful painting!   Let me go now!

R66  GLOSSARY
 Editing For English Language Conventions continued

Italics Use an apostrophe in a contraction to indicate the position

Italicize the titles of long written works, movies, television of the missing letter or letters.
and radio shows, lengthy works of music, paintings, and She’s never read a Coleridge poem she didn’t like.
sculptures. Brackets
Howards End  60 Minutes  Guernica Use brackets to enclose clarifying information inserted
For handwritten material, you can use underlining instead within a quotation.
of italics. Columbus’s journal entry from October 21, 1492,
The Princess Bride   Mona Lisa begins as follows: “At 10 o’clock, we arrived at a
Dashes cape of the island [San Salvador], and anchored, the
other vessels in company.”
Use dashes to indicate an abrupt change of thought, a
dramatic interrupting idea, or a summary statement. Ellipses
Use three ellipsis points, also known as an ellipsis, to
I read the entire first act of Macbeth—you won’t
indicate where you have omitted words from quoted
believe what happens next.
material.
The director—what’s her name again?—attended
Wollestonecraft wrote, “The education of women
the movie premiere.
has of late been more attended to than formerly; yet
Hyphens they are still . . . ridiculed or pitied. . . .”
Use a hyphen with certain numbers, after certain In the example above, the four dots at the end of the

GLOSSARY: GRAMMAR HANDBOOK

prefixes, with two or more words used as one word, and sentence are the three ellipsis points plus the period from
with a compound modifier that comes before a noun. the original sentence.
seventy-two Use an ellipsis to indicate a pause or interruption in
self-esteem speech.
president-elect ”When he told me the news,” said the coach,
five-year contract “I was . . . I was shocked . . . completely shocked.”
Parentheses
Use parentheses to set off asides and explanations Spelling 
when the material is not essential or when it consists of Spelling Rules
one or more sentences. When the sentence in parentheses
Learning the rules of English spelling will help you make
interrupts the larger sentence, it does not have a capital
generalizations about how to spell words.
letter or a period.
He listened intently (it was too dark to see who was Word Parts
speaking) to try to identify the voices. The three word parts that can combine to form a word
When a sentence in parentheses falls between two other are roots, prefixes, and suffixes. Many of these word parts
complete sentences, it should start with a capital letter come from the Greek, Latin, and Anglo-Saxon languages.
and end with a period. The root word carries a word’s basic meaning.
The quarterback threw three touchdown passes. (We Root and Origin Meaning Examples
knew he could do it.) Our team won the game by -leg- (-log-) [Gr.] to say, speak legal, logic
two points. -pon- (-pos-) [L.] to put, place postpone,
Apostrophes deposit
Add an apostrophe and an s to show the possessive A prefix is one or more syllables added to the beginning
case of most singular nouns and of plural nouns that do of a word that alter the meaning of the root.
Learning Company LLC.

not end in -s or -es. Prefix and Meaning Example

Blake’s poems    the mice’s whiskers Origin
Names ending in s form their possessives in the same way, anti- [Gr.] against antipathy
reserved.

except for classical and biblical names, which add only an inter- [L.] between international
apostrophe to form the possessive. mis- [A.S.] wrong misplace
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Dickens’s   Hercules’
Add an apostrophe to show the possessive case of plural
nouns ending in -s and -es.
the girls’ songs    the Ortizes’ car

Grammar Handbook  R67

 Editing For English Language Conventions continued

A suffix is a letter or group of letters added to the end of Orthographic Patterns

a root word that changes the word’s meaning or part of Certain letter combinations in English make certain
speech. sounds. For instance, ph sounds like f, eigh usually
Suffix and Meaning and Part of makes a long a sound, and the k before an n is often
Origin Example Speech silent.
pharmacy  neighbor  knowledge
-ful [A.S.] full of: scornful adjective
Understanding orthographic patterns such as these
-ity [L.] state of being: adversity noun
can help you improve your spelling.
-ize (-ise) [Gr.] to make: idolize verb
Forming Plurals
-ly [A.S.] in a manner: calmly adverb
The plural form of most nouns is formed by adding -s to
Rules for Adding Suffixes to Root Words the singular.
When adding a suffix to a root word ending in y preceded computers  gadgets  Washingtons
by a consonant, change y to i unless the suffix begins with i. For words ending in s, ss, x, z, sh, or ch, add -es.
ply + -able = pliable   happy + -ness = happiness circuses  taxes  wishes  benches
defy + -ing = defying   cry + -ing = crying For words ending in y or o preceded by a vowel, add -s.
For a root word ending in e, drop the e when adding a keys  patios
suffix beginning with a vowel. For words ending in y preceded by a consonant, change
GLOSSARY: GRAMMAR HANDBOOK

drive + -ing = driving   move + -able = movable the y to an i and add -es.
SOME EXCEPTIONS: traceable, seeing, dyeing cities  enemies  trophies
For root words ending with a consonant + vowel For most words ending in o preceded by a consonant, add
+ consonant in a stressed syllable, double the final -es.
consonant when adding a suffix that begins with a vowel. echoes   tomatoes
mud + -y = muddy     submit + -ed = submitted
Some words form the plural in irregular ways.
SOME EXCEPTIONS: mixing, fixed
women  oxen  children  teeth  deer
Rules for Adding Prefixes to Root Words
Foreign Words Used in English
When a prefix is added to a root word, the spelling of the
Some words used in English are actually foreign words
root remains the same.
that have been adopted. Learning to spell these
un- + certain = uncertain   mis- + spell = misspell words requires memorization. When in doubt, check a
With some prefixes, the spelling of the prefix changes dictionary.
when joined to the root to make the pronunciation easier. sushi    enchilada  au pair  fiancé
in- + mortal = immortal   ad- + vert = avert laissez faire   croissant

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reserved.

R68  GLOSSARY
 INDEX OF SKILLS

Analyzing Text technical language, 417 662, 664, 667, 670, 672, 674, 677,
enumeration, 37 680, 765, 767, 768, 771, 772, 783,
Allegory, 681 784, 786, 795, 797, 798, 800
Allusion, 46, 294, 344 figurative language, 855
metaphors, 855 annotate, 24, 34, 46, 79, 98, 114,
American regional art, 472, 473 122, 164, 180, 210, 244, 258,
Analytical argument, 368 similes, 855 294, 304, 334, 343, 356, 367,
Analyze, 24, 34, 58, 165, 180, 414, 657, formality, 27 414, 426, 444, 469, 488, 559,
680, 689, 802 historical narrative as argument, 81 774, 788, 802, 824, 839, 853
essential question, 79, 98, 114, 122, irony, 358 close-read guide, 131, 267, 385, 537,
210, 226, 234, 244, 258, 334, dramatic, 358 743, 863
343, 356, 367, 375, 469, 477, 488, situational, 358 conclude, 24, 34, 46, 79, 98, 114,
499, 507, 517, 527, 713, 734, 824, verbal, 358 122, 164, 180, 210, 226, 244, 258,
839, 853 294, 304, 343, 414, 426, 444,
Irony, 659
media, 58, 89, 234, 349, 689 469, 488, 499, 517, 527, 559, 713,
dramatic irony, 659 734, 774, 788, 802, 824, 839, 853
essential question, 477, 719
verbal irony, 659 notice, 517
present and discuss, 477, 719
mixed diction, 167 questions, 24, 34, 46, 79, 98, 114,
review and synthesize, 477, 719
onomatopoeia, 167 122, 164, 180, 210, 226, 244, 258,
prepare to compare, 856
parallelism, 49 294, 304, 334, 343, 356, 367,
present and discuss, 79, 98, 114, 122, 375, 414, 426, 444, 469, 488,
realism, 683
210, 226, 234, 244, 258, 334, 499, 517, 527, 559, 713, 734, 774,
343, 356, 367, 375, 469, 477, 488, rhetorical devices
788, 802, 824, 839, 853
499, 507, 517, 527, 713, 734, 824, antithesis, 124

INDEX OF SKILLS
Close review, 58
839, 853 parallelsim, 124
conclude, 58, 89, 189, 234, 316, 349,
review and clarify, 79, 98, 114, 122, syntax, 27 477, 507, 689, 719
210, 226, 234, 244, 258, 334, tone, 417
343, 356, 367, 375, 469, 488, questions, 58, 89, 189, 234, 316,
usage, 27, 336 349, 477, 507, 689, 719
499, 517, 527, 713, 734, 824,
839, 853 voice, 116 Compare and contrast, 58, 180, 774
review and synthesize, 477, 507 word choice, 429 Comparing texts, 72
Anecdotes, 415 dialect, 429 humor, 418
Argument, 6 idiomatic expressions, 429 legal opinion and magazine article,
analytical, 368 word pairing, 167 360, 370, 378
claim, 295 words and phrases, 336 memoir and poems, 420, 510
counterclaims, 295 Autobiography, 93, 99, 481, 489, 704, memoir and short story, 406
705 narrative choices, 856
development of ideas, 211
Biography, 72, 102, 107 short stories, 828, 842
historical narrative as, 81
Cite textual evidence, 24, 25, 34, 35, Comparing text to media
persuasive appeals, 25
46, 47, 58, 79, 80, 99, 114, 115, 122, American regional art, 472
rhetoric, 335 123, 164, 180, 181, 189, 210, 211,
structure, 295 artwork, 478
226, 234, 244, 245, 258, 259, 294,
Argumentative text, 548 295, 304, 305, 334, 343, 344, 356, audio performance of drama, 686,
357, 367, 368, 414, 415, 426, 427, 690
Art and photography, 310, 472, 502
444, 445, 469, 470, 488, 499, 500, autobiography and video interview,
Assess, 189
507, 517, 518, 527, 528, 597, 598, 704
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Audience, 116 625, 626, 657, 658, 680, 681, 682, fine art gallery, 462
Audio, 186, 346, 686 689, 713, 714, 734, 735, 774, 775, graphic adaptation, 82, 90
Audio performance, 687 788, 789, 802, 803, 824, 825, 839,
interview, 716
840, 853, 854
reserved.

Author’s style
photographs, 502, 508
audience, 336 Close read, 19, 20, 24, 31, 32, 34, 43,
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podcast, 190
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author’s choices, 659, 855 46, 89, 157, 158, 160, 174, 176, 178,
290, 292, 302, 409, 411, 412, 421, podcast and public document, 338
author’s point of view, 715 422, 424, 433, 434, 436, 439, 442, podcast and written text, 346, 350
diction, 336, 417 564, 567, 570, 572, 575, 578, 582, poem and radio episode, 186
colloquial language, 336, 417 587, 588, 595, 597, 604, 606, 608, poems and photo gallery, 492
conversational tone, 417 613, 615, 619, 623, 625, 631, 635,
639, 643, 644, 648, 653, 655, 657, video interview, 720
formal, 336

Index of Skills  R69

 Concession, 47 supporting details, 470 paradox, 181
Connect, 34, 46, 58, 165, 189, 304, diction, 123 parallel structure, 165
414, 597 drama, 598, 626 slant rhyme, 181
Connections across time, 15, 151, 287, characterization, 658 point of view, 427
405, 557, 763 conflict, 626 preamble, 35
Connect to style, 27, 37, 49, 183, 228, dialogue, 598 primary sources, 115
297, 307, 345, 417, 429, 447, 471,
dramatic exposition, 598 repetition, 500
490, 519, 715, 736, 791, 805
rising action, 626 resolutions, 35
Craft and structure
stage directions, 598 rhetoric, 80, 335
allegory
dramatic monologue, 245 argument, 335
literal meaning, 681
point of view, 245 effective, 335
symbolic meaning, 681
speaker, 245 refrain, 335
theme, 681
enumeration, 35 rhetorical devices, 47
allusions, 344
figurative language, 500 secondary sources, 115
analogy, 80
descriptive details, 518 sequence of events, 825
analytical argument, 368
imagery, 518 chronological order, 825
claim, 368
heading, 35 structure, 840
counterclaims, 368
hyperbole, 427 limited third-person point of
opinion, 368
imagery, 500 view, 840
argumentation, 25
incongruity, 427 omniscient point of view, 840
argumentative structure, 295
internal monologue, 357 stream of consciousness, 840
author’s choices
literary nonfiction, 99, 489, 528 suspense
literary forms, 681
historical writing, 528 foreshadowing, 803
narrative, 735
reflective writing, 528 pacing, 803
narrative structure, 854
INDEX OF SKILLS

monologue textual details, 80

rhetoric, 80, 123
dramatic, 245 thematic development
structure, 35, 840
narrative imagery, 445
author’s point of view, 227
chronological order, 735 symbolism, 445
philosophical assumptions, 227
flashback, 735 theme, 357
author’s purpose, 47, 415
foreshadowing, 735 transitional expressions, 470
anecdotes, 415
frame story, 789 Drama, 558, 560, 600, 601, 629, 660,
humorous descriptions, 415 661
internal story, 789
rhetoric, 47 Dramatic monologue, 245
introductory story, 789
autobiography, 489 Draw conclusions, 46, 414, 426, 657,
in medias res, 735
dialect, 489 802
suspense, 803
dialogue, 489 Essay, 154, 211, 463
narrative structure, 854
social context, 489 Essential question, 10, 46, 58, 128, 189,
flashback, 854 200, 282, 349, 400, 414, 426, 444,
Biblical allusions, 682
narrative point of view, 854 458, 534, 552, 680, 689, 700, 740,
characterization, 259, 658, 775
stream of consciousness, 854 758, 816, 860
dialogue, 658
personification, 500 Essential question connection, 24, 34,
direct, 259, 658
apostrophe, 500 164, 180, 294, 304, 774, 788, 802
indirect, 259, 658
persuasive appeals, 25 Evaluate, 164, 165, 294, 414, 426, 444,
motivation, 658 597, 625, 774, 788
appeal to authority, 25
themes, 775 Explanatory text, 396
appeal to emotion, 25
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charged language, 25 Expository nonfiction, 73

appeal to logic, 25
chronological structure, 305 Extended allusion, 344
poetic devices, 500, 518
complex ideas, 714 Fiction, 248, 352, 418, 432, 722, 764,
figurative language, 518
direct characterization, 714
reserved.

780, 794, 828, 842

metaphor, 518
indirect characterization, 714 Fine art gallery, 473
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personification, 518
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conflict First read, 72

simile, 518
external, 626 drama, 560, 600, 660
poetic structure and style, 165, 181
internal, 626 fiction, 248, 352, 418, 432, 722, 764,
catalogues, 165
development of ideas, 211 780, 794, 828, 842
elliptical phrasing, 181
argument, 211 first-read guide, 130, 266, 384, 536,
free verse, 165 742, 862
central ideas, 211, 470

R70  INDEX
 nonfiction, 16, 30, 72, 92, 102, 118, Legal opinion, 360, 361, 370, 378 223
152, 204, 214, 288, 300, 330, Letter, 102, 104 Photo gallery, 492, 503
338, 360, 406, 462, 480, 520, Literary criticism, 463 Photographic journalism, 310
704, 820
Literary history, 821 Photographs, 508
poetry, 152, 170, 236, 492, 510
Literary nonfiction, 99, 489, 528 Podcast, 346, 347, 349
speech, 40
Literature and culture, 24, 802 Poetry, 150, 152, 156, 160, 161, 162,
First review media, 52 170, 172, 173, 174, 175, 176, 177,
Literature of the focus period, 15, 151,
art and photography, 82, 310, 472, 287, 405, 557, 763 178, 236, 238, 420, 492, 494, 496,
502 510, 512, 514
Magazine article, 360, 370, 371, 378
audio, 186, 346, 686 anaphora, 165
Make a judgment, 180
public document, 230 catalogues, 165
Make inferences, 24, 165, 180, 597,
video, 716 657, 689, 774, 788 epic theme, 165
Foundational document, 18, 31 Media, 412 free verse, 165
Frame story, 427 American regional art, 472 poetic devices, 500
Generalize, 24 analyze, 58, 89, 234, 477 slant rhyme, 181
Graphic adaptation, 82, 90 audio performance, 687 storyboard, 243
Graphic novel, 82, 83 compare and contrast, 58 Political cartoons, 310
Historical narrative, 81 comparing text to, 82, 90, 186, 190, Predict, 597, 625
biography, 81 338, 346, 350, 462, 472, 478, Public document, 230, 231, 338, 339
historical details, 81 492, 502, 508 Purpose, 116
numerical data, 81 connect, 58 Radio broadcast, 186, 187
quotations, 81 essential question, 58, 89 Realism
Historical perspective, 12, 34, 46, 58, fine art gallery, 473 dialogue, 683
148, 164, 180, 189, 284, 294, 304, graphic novel, 83 setting, 683
402, 414, 426, 444, 554, 760, 774, historical perspective, 58 Relate, 180

INDEX OF SKILLS
788
image gallery, 53, 311 Rhetorical devices
Humor, 418
patents, 230 concession, 47
Humorous descriptions, 415
photo gallery, 492, 503 paradox, 47
Image gallery, 53, 311
podcast, 346, 347 rhetorical question, 47
Independent learning, 128, 264
present and discuss, 89, 316 Rhetorical questions, 47
close-read guide, 131, 267, 385, 537,
public document, 230, 231 Short story, 249, 353, 406, 419, 433,
743, 863
radio broadcast, 187 765, 781, 795, 828, 829, 842, 843
first-read guide, 130, 266, 384, 536,
742, 862 review and synthesize, 316 Slave narrative, 99
share learning, 143, 268, 386, 538, storyboard, 733 Social commentary, 415
744, 864 synthesize, 89 Speculate, 24
strategies technical drawings, 230, 231, 234 Speech, 40, 42, 47, 50, 120, 289, 301,
create a schedule, 128, 264, 382, video, 717 330, 331
534, 740, 860 video interview, 704 Story element, 213
practice what you have learned, Memoir, 406, 408, 420, 510, 521 Summarize, 164
128, 264, 382, 534, 740, 860 Narrative, 142, 735, 789, 803 Support, 426, 788
take notes, 128, 264, 382, 534, fictional narrative, 754 Synthesize, 189, 444
740, 860 Theme, 165, 180, 357, 681
historical narrative, 81
Infer, 625 Tone, 292
personal narrative, 141
Informational text, 277, 278 Video, 716
slave narrative, 99
Informative text Video interview, 704
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Nonfiction, 16, 30, 72, 92, 102, 118,

elements of, 318 152, 204, 214, 288, 300, 330, 338, Visual propaganda, 52
model of, 318 360, 370, 406, 462, 480, 520, Voice
Integration of knowledge and ideas, 149 704, 820 diction, 116
reserved.

causes and effects, 13 expository nonfiction, 73 syntax, 116

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charts, 285 literary nonfiction, 99, 489, 528 tone, 116

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graphs, 403, 555, 761 Novel excerpt, 723

table, 761 Paradox, 47 Assessment
Interpret, 24, 46, 164, 165, 304, 444, Parallelism, 290
Speaking and listening
625, 657, 680, 689, 774, 788, 802 Paraphrase, 34, 180, 304
oral presentation, 542
Interview, 716 Personal narrative, 141
podcast, 390
Irony, 304, 358 Philosophical writing, 205, 207, 215,

Index of Skills  R71

 speech, 748 figurative language, 529 consistency of, 65
storytelling, 272, 868 imagery, 529 future, 65
videorecorded commentary, 136 Poetic structures, 501 past, 65
Writing to sources rhythm, 501 past perfect, 65
argument, 134, 746 ellipses, 501 present, 65
explanatory essay, 540 line lengths, 501 present perfect, 65
informational essay, 388 Pronouns sequence of, 65
narrative, 866 agreement, 736 Usage, 27, 37
personal narrative, 270 antecedents, 697, 736, 791 Verb phrases, 297
indefinite pronouns, 697 Voice
Language Conventions personal pronouns, 599 active voice, 826
Antecedents, 791 first-person, 599 passive voice, 826
Blending information, 695 second-person, 599 Word choices, 28, 38
Clauses third-person, 599
independent clauses, 212, 345 as subjects, 791 Research
subordinate (dependent) clauses, 212, Punctuation Argument, 62
345 dashes, 471 notes that make me rethink claim, 63
Conjunctions for enumeration, 37, 38 notes that oppose claim, 63
coordinating, 369 hyphens, 471 notes that support claim, 63
subordinating, 377 introductory phrases and clauses, 455 Assessing strengths and limitations, 320
Dialect, 777 Record information, 695 Avoiding plagiarism, 320
Dialogue, 811 Regionalism, 777 Citations, 320
Eighteenth-century style, 100 Rhetoric, 49 Conducting, 320
mechanics, 100 Sentences Evaluating sources for, 694
INDEX OF SKILLS

sentence length, 100 run-on sentences, 841 Evidence, 62

usage, 100 sentence fragments, 841 Field guide entry, 737
Figurative language, 260, 529 Sentence variety, 212, 448 Map, 737
hyperbole, 260, 490 complex sentences, 212 Paraphrasing, 320
idioms, 490 compound-complex sentences, 212 Print and digital sources, 452
metaphors, 260 compound sentences, 212 Quotations, 320
overstatement, 490 declarative sentences, 447 Research plan, 737
similes, 260 exclamatory sentences, 447 Research report, 125
Formality, 27 imperative sentences, 447 analysis of the historical context, 125
Grammar, 28 interrogative sentences, 447 analytical paper, 827
Information from sources, 695 simple sentences, 212 comparison-and-contrast
Motif, 805 subordinating conjunctions, 377 presentation, 125
symbol, 805 Sequence of tenses, 65 extended definition, 827
theme, 805 Style, 28, 66, 183 graph, 827
Noun phrases, 297 analogy, 228 project plan, 125
Nouns, compound, 246 brief anecdotes, 228 review, 125
closed, 246 conversational, 228 Research to clarify, 23, 33, 45, 88, 97,
hyphenated, 246 dialogue, 811 113, 121, 163, 179, 209, 225, 233,
Parallelism, 49, 50 diction, 228 243, 257, 293, 303, 333, 348, 366,
413, 425, 443, 487, 498, 516, 596,
Phrases direct address of the reader, 228
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679, 712, 733, 773, 787, 801, 838,

noun, 297 eighteenth-century, 100 852
prepositional phrase, 307 figures of speech, 228 Research to explore, 23, 45, 78, 88,
adjective phrase, 307 pithy statements, 228 97, 121, 163, 179, 209, 225, 233,
reserved.

adverb phrase, 307 precise words and phrases, 195 243, 257, 293, 303, 333, 342, 355,
413, 425, 443, 468, 476, 487, 498,
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Poetic conventions word choice, 228

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516, 526, 624, 656, 679, 733, 773,

end-stopped lines, 519 Subjects, 791
787, 823, 838, 852
enjambment, 519 Syntax, 27, 28, 37, 49
Research used effectively, 452
repetition, 519 parallelism, 49
Search engine, 62
stanza breaks, 519 sentence patterns, 323
Timeline, 737
Poetic prose, 529 varying, 455
descriptive details, 529 Tenses

R72  INDEX
 Speaking and Listening analyze readings, 185 list your rules, 70, 202, 328, 460,
evaluate reading, 185 702, 818
Argument, 738
listen to readings, 185 name your group, 70, 202, 328,
planning, 738 460, 702, 818
present and evaluate, 739 Oral presentation, 117, 169
analyze selection, 169 roles for group projects, 71, 203,
rehearsing, 739 329, 461, 703, 819
Assessment choose a text, 169
take a position, 70, 202, 328, 460,
oral presentation, 542 compare-and-contrast discussion, 491 702, 818
podcast, 390 discussion plan, 491 Speeches, 39
speech, 748 evaluate partner readings, 169 choose a position, 235
storytelling, 272, 868 informative talk, 491 deliver the speech, 39
videorecorded commentary, 136 interview, 491 discussing the speech, 51
Class discussion presentation plan, 117 evaluate the video, 51
discuss the questions, 29 public service announcement, 117 evaluate your presentation, 39
listen and evaluate, 29 Reader’s Theater, 117 plan your argument, 235
prepare your contribution, 29 rehearse presentation, 169 practice and present, 51
think about the question, 29 research plan, 117 present and debate, 235
Compare-and-contrast chart, 59 role-play, 117 tone, 299
Debate, 449 Oral response to literature, 807 video recording of, 51
establish rules, 449 Panel discussion, 380 write the speech, 39
evaluate, 449 planning, 380 Storytelling, 144
explore and evaluate claims, 449 presenting and evaluating, 381 Thematic analysis, 685
Dialogue, 793 rehearsing, 381 Tone, 299
analyze characters, 793 Partner discussion, 779 Videorecorded commentary, 136
evaluate, 793 Personal narrative Visual propaganda

INDEX OF SKILLS
plan, 793 gather evidence, 262 consider image choices, 59
prepare delivery, 793 plan with your group, 262 plan the project, 59
Discussion, 229 present and evaluate, 263 prepare the script, 59
defense, 229 rehearse with your group, 263 present and discuss, 59
finding evidence, 229 Political infomercial, 59 Whole-class discussion, 627
list, 229 Present an argument, 126 Whole-class learning strategies, 10
project plan, 229 plan with your group, 126 clarify by asking questions, 10, 146,
response, 229 present and evaluate, 127 282, 400, 552, 758
Dramatic reading, 299 rehearse with your group, 127 interact and share ideas, 10, 146,
choose examples, 299 Reading and discussion 282, 400, 552, 758
evaluate examples, 299 choose the passages, 309 listen actively, 10, 146, 282, 400,
deliver reading and analysis, 309 552, 758
listen to readings, 299
evaluation presentation, 309 monitor understanding, 10, 146, 282,
Explanatory talk, 532 400, 552, 758
planning, 532 prepare delivery, 309
present and evaluate, 533 Small-group learning Vocabulary
rehearsing, 533 making a schedule, 71, 203, 329,
Academic vocabulary, 5
461, 703, 819
Group discussion analyze, 395, 450, 540
strategies for, 68, 200
holding the discussion, 359 assert, 547, 692, 746
clarify, 68, 200, 326, 458, 700,
preparation, 359 816 certify, 547, 692, 746
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Image gallery, 317 participate fully, 68, 200, 326, colloquial, 753, 866
plan the project, 317 458, 700, 816 confirm, 5, 60, 134
prepare the script, 317 prepare, 68, 200, 326, 458, 700, conviction, 5, 60, 134
present and discuss, 317 816 deduction, 277, 388
reserved.

Media connection, 23, 44, 96 support others, 68, 200, 326, 458, definitive, 547, 692, 746
Savvas

700, 816
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Multimedia presentation, 59 demonstrate, 5, 60, 134

Narrative presentation, 858 working as a team, 70, 202, 460, 818 determine, 395, 450, 540
planning, 858 apply the rules, 70, 202, 328, 460, epiphany, 753, 866
rehearsing, 859 702, 818
establish, 5, 60, 134
Note taking, 186, 346 create a communication plan, 70,
immutable, 547, 692, 746
202, 328, 460, 702, 818
Oral interpretation impact, 141, 192, 270

Index of Skills  R73

 incident, 141, 192, 270 denounce, 288, 290, 296, 298 malice, 300, 303, 306, 308
informational, 277, 388 despotism, 40, 43, 48, 50 monotonous, 418, 420, 428
inquire, 277 dictum, 828, 832, 839 motifs, 248, 253, 258
investigate, 388 digress, 236, 240, 244 multitudes, 152, 159, 166, 168
literal, 395, 450, 540 dilatory, 432, 433, 446, 448 obdurate, 288, 289, 296, 298
protagonist, 753, 866 discern, 462, 465, 469 obliged, 330, 332, 334
relevant, 547, 692, 746 disparity, 288, 290, 296, 298 oppressed, 338, 340, 343
resolution, 753, 866 disposition, 360, 365, 367 ornamented, 406, 410, 416
sequence, 141, 192, 270 disputation, 660, 669, 680, 684 overcast, 780, 784, 790, 792
significant, 141, 192, 270 dissented, 102, 109, 114 overture, 248, 253, 258
specific, 277, 388 dyspepsia, 842, 851, 853 perish, 300, 302, 306, 308
subordinate, 395, 450, 540 effrontery, 628, 640, 657 perpetually, 794, 799, 804, 806
supplement, 5, 60, 134 eminence, 406, 411, 416 persistence, 352, 354, 356
tension, 753, 866 eminent, 72, 74, 79 petition, 30, 32, 36, 38
trivialize, 395, 450, 540 emperor, 170, 172, 182, 184 picturesquely, 406, 410, 416
unique, 141, 192, 270 encroaching, 794, 795, 804, 806 plaintiffs, 360, 362, 367
verbatim, 277, 388 equivocate, 288, 290, 296, 298 populist, 72, 75, 79
Concept vocabulary espionage, 704, 708, 713 prejudices, 40, 43, 48, 50
abridging, 30, 32, 36, 38 etiquette, 828, 830, 839 prelude, 248, 255, 258
acquiesce, 16, 21, 26, 28 exalted, 406, 411, 416 prescribed, 30, 32, 36, 38
adamant, 660, 667, 680, 684 exasperating, 418, 419, 428 proceedings, 600, 606, 625
ampler, 152, 166, 168 exercise, 30, 32, 36, 38 prolific, 152, 166, 168
anticipation, 794, 796, 804, 806 faultfinder, 214, 221, 226 quaint, 432, 436, 446, 448
ascendant, 820, 823, 824 fix, 330, 331, 334 racket, 330, 331, 334
INDEX OF SKILLS

assent, 16, 19, 26, 28 foment, 102, 106, 114 rectitude, 16, 21, 26, 28
awkward, 764, 769, 776, 778 forward, 48, 480, 482 redeemers, 204, 208, 210
brawling, 492, 495, 499 furtive, 764, 767, 776, 778 redress, 30, 32, 36, 38
brazenness, 48, 480, 482 garrulous, 418, 419, 428 remorseless, 628, 630, 657
breadth, 152, 166, 168 gilded, 406, 410, 416 renaissance, 820, 823, 824
buttonholed, 418, 424, 428 grade, 410 rend, 300, 302, 306, 308
cabana, 722, 725, 734 grandeur, 406, 416 reverence, 520, 524, 527
callously, 628, 641, 657 hallow, 118, 120, 122 rites, 520, 524, 527
calumny, 560, 576, 597 hangdog, 764, 772, 776, 778 salutary, 40, 44, 48, 50
cantina, 722, 725, 734 heedless, 214, 219, 226 sanctity, 204, 205, 210
captivity, 170, 175, 182, 184 hermitage, 432, 436, 446, 448 scourge, 300, 302, 306, 308
clammy, 842, 845, 853 hospitality, 432, 435, 446, 448 self-assurance, 48, 480, 481
collaborator, 704, 706, 713 hypodermic, 842, 848, 853 shotgun, 780, 784, 790, 792
conceded, 288, 291, 296, 298 imperial, 170, 173, 182, 184 shuffle, 764, 766, 776, 778
conciliatory, 660, 666, 680, 684 imploring, 352, 354, 356 sidle, 764, 766, 776, 778
conclave, 72, 73, 79 importunities, 352, 355, 356 sinister, 510, 513, 517
condemnation, 600, 603, 625 indecisions, 236, 240, 244 sovereign, 170, 173, 182, 184
consecrate, 118, 120, 122 infallibility, 40, 43, 48, 50 spatial, 462, 466, 469
conspirators, 704, 707, 713 infringed, 30, 32, 36, 38 squalor, 432, 436, 446, 448
constrains, 16, 19, 26, 28 instantaneously, 794, 796, 804, 806 stolid, 288, 289, 296, 298
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constricting, 794, 799, 804, 806 insurgent, 300, 302, 306, 308 strife, 510, 513, 517
corrupted, 40, 43, 48, 50 integrity, 40, 44, 48, 50 subordinate, 338, 341, 343
cowering, 764, 769, 776, 778 interminable, 418, 420, 428 superannuated, 794, 799, 804, 806
reserved.

cunning, 492, 495, 499 jurisdiction, 360, 362, 367 superfluous, 214, 218, 226
Savvas

dedicate, 118, 120, 122 letterhead, 780, 782, 790, 792 supplanted, 820, 822, 824
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defamation, 560, 584, 597 loathsome, 92, 93, 98 tedious, 236, 239, 244, 418, 428
deference, 828, 830, 839 loitered, 432, 434, 446, 448 teeming, 152, 166, 168
degraded, 338, 340, 343 machetes, 722, 729, 734 temporal, 462, 466, 469
deicide, 520, 524, 527 magistrates, 600, 603, 625 transcendent, 204, 208, 210
dejected, 92, 94, 98 majority, 170, 172, 182, 184 treason, 170, 173, 182, 184

R74  INDEX
 tyranny, 16, 19, 26, 28 contrast of ideas and topics, 492 Writing, 190, 625
unalienable, 16, 18, 26, 28 description as context clue, 102 Active voice, 826
unrequited, 300, 302, 306, 308 restatement of idea, 492 Adjective phrases, 307
vassals, 102, 104, 114 synonyms, 72, 492 Adverb phrases, 307
vast, 152, 166, 168 conversational use, 517 Advertisement, 101
vigilant, 510, 514, 517 denotation, 122, 356, 428 Alternate ending, 756
vindictive, 560, 571, 597 endocentric compounds, 790 Anecdote, 806
wanton, 492, 495, 499 etymology, 517, 680, 734 Anecdotes, 454
waterfowl, 780, 782, 790, 792 exocentric compounds, 776 Argument, 5, 28, 60, 101, 134, 547,
wretched, 92, 94, 98 Greek prefix 684, 692
Media vocabulary dys-, 853 connect across texts, 61
appeal, 52, 58 Latin combining form develop a claim, 61
audio play, 686, 689 multi-, 166 drafting, 64
caption, 82, 89 Latin prefix elements of, 60
caricature, 310, 316 di- / dis-, 244 gather evidence, 61
commentary, 186, 189 ob-, 296 historical narrative, 81
composition, 310, 316 super-, 226 model argument, 60
cross-section, 230, 234 Latin root notes that make me rethink claim, 63
depth of field, 502, 507 -cid-, 527 notes that oppose claim, 63
documentary, 716, 719 -dei-, 527 notes that support claim, 63
expression, 686, 689 -fama-, 597 prewriting/planning, 61
eyewitness account, 716, 719 -ject-, 98 response to literature, 692
figure, 230 -lig-, 334 review evidence for, 745
focal point, 502, 507 -rect-, 26 revising, 66

INDEX OF SKILLS
foreground and background, 502, -sanct-, 210 rhetorical devices, 64
507 -scend-, 824 Argumentative essay, 684, 692
frame, 346, 349, 719 -strict-, 804 conventions, 695
framing, 716 Latin root word deductive reasoning, 696
host, 186, 189 hospes, 446 drafting, 696
impressionism, 472, 477 Latin suffix editing, 699
inflection, 686, 689 -al, 469 indefinite pronouns, 697
interview, 186, 189 -ist, 79 inductive reasoning, 696
labeling and captions, 310, 316 -ity, 48 prewriting/planning, 693
layout, 82, 89 -or-, 713 proofreading, 699
palette, 472, 477 -um, 839 publishing and presenting, 699
perspective, 472, 477 multiple-meaning words, 36, 48 research, 694
propaganda, 52, 58 nuance, 306 revising, 698
realism, 472, 477 present participle, 499 Blog post, 184
romanticism, 472, 477 roots, 5 Body, 64, 454
special elements, 346, 349 synonyms, 36, 306 Clauses, 37, 345
specifications, 230, 234 technical words (jargon), 367, 625 Climax, 194
speech balloon, 82, 89 word choice, 26, 36, 48, 79, 98, 114, Colloquial language, 417
symbolism, 52, 58 122, 166, 182, 210, 244, 258, 296, Compare, 90
tone, 346, 349 306, 334, 343, 356, 367, 416, 428,
Compare-and-contrast essay, 378, 720
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Technical vocabulary, 324 446, 448, 469, 499, 517, 527, 597,
625, 657, 680, 684, 713, 734, 776, drafting, 191, 351, 721
Word study skills 778, 790, 792, 804, 806, 824, prewriting/planning, 190, 350, 378,
Anglo-Saxon suffix 839, 853 720
reserved.

-esque, 416 word derivations, 182, 258 Conclusion, 64, 194, 198, 324, 454
Savvas

base words, 92, 480, 704 word families, 114 Conflict, 194
©Allbyrights

cognates, 375 Word Network, 7, 143, 279, 397, Conjunction, coordinating, 369
connotations, 122, 356, 428, 657 549, 755 Connect across texts, 61, 193, 319
context clues, 72, 102, 204, 236, word parts Coordinating conjunctions, 369
330, 338, 462, 492, 510, 520, 722, familiar, 214, 248, 352, 360, 842 Create cohesion, 65
820, 828 prefix, 118 Critical analysis, 448
antonyms, 72 root, 118 Critical review, 690

Index of Skills  R75

 drafting, 691 revising, 456 197, 198
prewriting/planning, 690 style, 455 perspective, 715
Define, 8 Explanatory text, 430 review notes for, 865
Definitions, 456 drafting, 431 Narrative scene, 792
Description, 476, 506, 529 prewriting/planning, 430 Note taking, 321
Dialect, 777 Exposition, 194 Noun phrases, 297
Dialogue, 841 Extended definition, 38, 779 Nouns
Diction Falling action, 194 abstract, 183
colloquial, 336 Figurative language, 490 compound, 246
formal, 336 hyperbole, 260 concrete, 183
Digital presentation, 247 metaphor, 260 Onomatopoeic words, 168
digital plan, 247 simile, 260 Paragraph, 625
filmed oral response, 247 First person, 198 active and passive voice, 826
oral recitation and discussion, 247 Focus statement, 280 clauses, 345
slide show, 247 Gather evidence, 61 colloquial language, 417
Drafting, 64, 101, 191, 194, 351, 431, Hyperbole, 427 diction
509, 531, 691, 721 Idioms, 429 colloquial, 336
begin story memorably, 810 Informative essay, 318, 530 formal, 336
end in satisfying way, 810 drafting, 91, 531 figurative language, 490
establish point of view, 810 identify key components, 531 idioms, 429
evaluating draft, 66 prewriting/planning, 90, 530 metaphors, 855
explanatory essay, 454 Informative eyewitness account, 308 motif, 805
first draft, 322, 696 Informative text pronoun antecedents, 736
highlight the conflict, 810 biographical sketch, 337 sentence variety in, 212, 447
INDEX OF SKILLS

organizing text, 322 cause-and-effect article, 337 similes, 855

outlining, 322 extended definition, 337 situational irony, 358
present reasoning, 696 project plan, 337 Parallel structure, 37
sentence patterns, 323 Informative writing, 38 Paraphrase, 61
Editing for conventions, 67, 199, 325, misconceptions or disproven ideas, Parts of speech, 183
457, 699, 815 298 abstract noun, 183
Editorial, 28 Interpretive essay concrete noun, 183
Enumeration, 37 drafting, 479 noun, 183
Essay, 856 prewriting/planning, 478 Passive voice, 826
argumentative essay, 684, 692, 693, Introduction, 64, 454 Peer review, 67, 199, 325, 457, 699, 815
694, 695, 696, 698, 699 Irony, 659 Personal narrative, 192
compare-and-contrast essay, 190, Letter, 101 conclusion, 194
191, 378, 720
Literary review, 101 conflict, 194
drafting, 856
Logical connections, 66 drafting, 194
explanatory essay, 450, 451, 452,
Metaphors, 855 elements of, 192
454, 455, 456, 457
Motif, 805 model for, 192
how-to essay, 261
Multimedia presentation, 508 precise words and phrases, 195, 197
informative essay, 318, 530
drafting, 509 prewriting/planning, 192
interpretive essay, 478
prewriting/planning, 509 revising, 198
review and revise, 857
Narrative, 778 Phrases, 37
Evaluating sources, 321
Learning Company LLC.

fictional narrative, 808 adjective, 307

Evidence Log, 9, 145, 281, 399, 451,
539, 551, 757 dialogue, 811 adverb, 307
Explain, 8 drafting, 810 noun, 297
reserved.

Explanatory essay, 450 editing and proofreading, 815 precise, 195, 197
Savvas

drafting, 454 prewriting/planning, 809 verb, 297

©Allbyrights

editing and proofreading, 457 publishing and presenting, 815 Poem, 501, 519
elements of, 450 revising, 814 Precise words and phrases, 195
model of, 450 sensory language, 812 Prewriting/planning, 61, 190, 192, 319,
prewriting/planning, 451 first-person point of view, 715 350, 430, 451, 509, 530
publishing and presenting, 457 historical narrative, 81 ask questions, 693
researching, 452 personal narrative, 192, 194, 195, compare and contrast, 319

R76  INDEX
 connect across texts, 319, 809 Rhetorical devices review and revise, 857
create a story chart, 809 antithesis, 124 explanatory text, 430
develop characters, 809 Rhythm, 50 drafting, 431
direct quotations, 319 Rising action, 194 prewriting/planning, 430
evaluate evidence, 451 Sensory language, 168, 198, 812, 813 informative essay, 531
focus on a conflict, 809 Sentences drafting, 531
gather evidence, 319, 451, 693 adding clauses to, 345 identify key components, 531
thesis statement, 451 adjective phrases, 307 prewriting/planning, 530
working thesis, 319 adverb phrases, 307 interpretive essay
Project plan, 101 with compound nouns, 246 drafting, 479
Pronoun antecedents, 736 coordinating conjunctions, 369 prewriting/planning, 478
Proofreading for accuracy, 67, 199, 325, sentence variety, 212, 455 multimedia presentation, 508
457, 699, 815 subordinating conjunctions, 377 drafting, 509
Publishing and presenting, 67, 199, 325, Sentence variety, 212, 447, 455 prewriting/planning, 509
457, 699, 815 Sequence verbs, 65 organize your ideas, 191
Punctuation Similes, 855 Writing to sources
comma, 37, 49 Situational irony, 358 anecdote, 806
dashes, 471 Sophisticated writing, 196 argument, 101, 134, 684
enumeration, 37 Storyboard, 113 argumentative essay, 684
hyphens, 471 Story element, 213 assessment
serial comma, 37 character, 213 argument, 134, 746
QuickWrite, 9, 131, 145, 267, 281, 385, dialogue, 213 explanatory essay, 540
399, 537, 551, 743, 757, 863
plan for, 213 informational essay, 388
Quotations
setting, 213 narrative, 866
direct, 61

INDEX OF SKILLS
Style, 455 personal narrative, 270
integrating, 321
Subordinating conjunctions, 377 blog post, 184
Realism, 683
Summary, 8, 23, 33, 45, 78, 88, 113, critical analysis, 448
Reflect on writing, 28, 38, 50, 67, 168, 121, 144, 163, 179, 209, 225, 257, digital presentation, 247
184, 199, 298, 308, 325, 448, 684, 280, 293, 303, 333, 342, 348, 366,
699, 778, 792, 806, 815 digital plan, 247
398, 413, 425, 443, 468, 487, 498,
Regionalism, 777 filmed oral response, 247
516, 526, 550, 624, 656, 679, 712,
Research report, 261 756, 773, 787, 823, 838, 852 oral recitation and discussion, 247
comparison and contrast, 261 Synonyms, 356 slide show, 247
how-to essay, 261 Technical vocabulary, 324 editorial, 28
problem-solution letter, 261 Timeline, 97, 355, 596, 801 evaluation, 50
project plan, 261 Verb phrases, 297 informative eyewitness account, 308
working title, 261 Weaving research into test, 321 informative text
Review, 228, 431, 531 Word choice, 28, 38, 50, 66, 168, 184, biographical sketch, 337
Revising, 66, 198, 531 298, 308, 813 cause-and-effect article, 337
evaluating draft, 324, 698, 814 Word Network, 7 extended definition, 337
for evidence and elaboration, 66, Word pairing, 167 project plan, 337
198, 324, 456 Writing to compare, 190 informative writing, 38
dialogue, 814 compare-and-contrast essay, 350, misconceptions or disproven ideas,
use of source material, 698 378, 720 298
vocabulary and tone, 698 drafting, 351, 721 narrative, 778
Learning Company LLC.

explanatory text, 431 prewriting/planning, 350, 720 narrative scene, 792

for purpose and organization, 66, compare interpretations, 190 research report, 261
198, 324, 456, 698 conclude with evaluation, 191 comparison and contrast, 261
reserved.

clarifying relationships, 698 critical review, 690 how-to essay, 261

Savvas

conclusion, 814 drafting, 691 problem-solution letter, 261

©Allbyrights

sequence of events, 814 prewriting/planning, 690 project plan, 261

Rewrite, 27, 49, 100 draw conclusions, 191 working title, 261
dialogue, 599 essay, 856 sensory language, 168
unclear antecedents, 791 drafting, 856 story element, 213

Index of Skills  R77

 INDEX OF AUTHORS AND TITLES

The following authors and titles appear in the print and online versions of Savvas Literature.

A Act II, 601 Gladding, Jody, 741

Adams, Abigail, 103, 104 Act III, 629 Great Lives: Emily Dickinson, from, 187
Ain’t I a Woman?, 331 Act IV, 661
H
Alvarez, Julia, 722, 723 D Hamadi, 265
Amar, Akhil Reed, 72, 73
Daley, Jason, 741 Hawthorne, Nathaniel, 265
Ambush, 861
Dear Abigail: The Intimate Lives and Hayden, Robert, 741
America, 162 Revolutionary Ideas of Abigail Hemingway, Ernest, 754
America’s Constitution: A Biography, Adams and Her Two Remarkable Hennessey, Jonathan, 82, 83
from, 73 Sisters, 107
Housepainting, 861
Antojos, 723 Declaration of Independence, 18
Houston, James D., 704, 705
Declaration of Sentiments, 339
B Dekanawidah, 129
Houston, Jeanne Wakatsuki, 704, 705
Baca, Jimmy Santiago, 511, 514 Hughes, Langston, 383
Democracy Is Not a Spectator Sport,
Balance Between Nature and Nurture, Hurston, Zora Neale, 480, 481
from, 129
A, 383
Baldwin, James, 535
Derricotte, Toi, 741 I
Dickinson, Emily, 171–178
INDEX OF AUTHORS AND TITLES

BBC Radio, 4, 187 I Hear America Singing, 160

Dillard, Annie, 535 I heard a Fly buzz—when I died, 177
Bears at Raspberry Time, 741
Douglas, Frederick, 288, 289 I’m Nobody! Who are you?, 178
Bierce, Ambrose, 828, 829
Douglass, 383 Interesting Narrative of the Life of
Bill of Rights, 31
Dunbar, Paul Laurence, 383 Olaudah Equiano, The, from, 93
Birches, 535
Dust Tracks on a Road, from, 481 Interview With George Takei, 717
Bishop, Elizabeth, 129
In the Longhouse, Oneida Museum, 512
Blanco, Richard, 138 E Iroquois Constitution, from the, 129
Blaustein, Arthur, 129 Eliot, T. S., 237, 238
Books as Bombs, from, 383 Emerson, Ralph Waldo, 204, 205, 207 J
Bradbury, Ray, 129 Equiano, Olaudah, 92, 93 Jacobs, Diane, 103, 107
Brief History of the Short Story, A, 821 Erdrich, Louise, 794, 795 Jefferson, Thomas, 17, 18
Brooks, Gwendolyn, 129 Espada, Martín, 383 Jewett, Sarah Orne, 432, 433
Browning, Sarah, 383 Everyday Use, 765 Jilting of Granny Weatherall, The, 843
Brown v. Board of Education: Opinion of Everything Stuck to Him, 781
the Court, 361 K
Burns, Ken, 392 F Kinnell, Galway, 265
Busch, Akiko, 741 Fame is a fickle food, 174
Farewell to Manzanar, from, 705 L
C L.A. Theatre Works, 687
1-800-FEAR, 741
Carruth, Hayden, 741 Latin Deli: An Ars Poetica, The, 535
Fifth Fact, The, 383
Carver, Raymond, 780, 781 Leap, The, 795
Fish, The, 129
Cather, Willa, 248, 249 Leaves of Grass, from Preface to the
Fisher, Claude, 265
Chang, Lan Samantha, 861 1855 Edition of, 154
For Black Women Who Are Afraid, 741
Chicago, 494
Learning Company LLC.

Letter to John Adams, 104

Franklin, Benjamin, 41, 42
Chopin, Kate, 352, 353 Lewis, Gwyneth, 186, 187
Frost, Robert, 535
Civil Disobedience, from, 223 Life on the Mississippi, from, 408
Cloudy Day, 514 G Lincoln, Abraham, 119, 120, 300, 301
reserved.

Cofer, Judith Ortiz, 535 Gallegos, Carmen, 278 Literature of Place, A, 463
Savvas

Common Sense, from, 129 Lopez, Barry, 462, 463

©Allbyrights

Gettysburg Address, 120

Crucible, The Giving Women the Vote, 347 Love Song of J. Alfred Prufrock, The, 238
Act I, 562, 687

R78  INDEX
 M R U
Madison, James, 30, 31 Reckless Genius, 265 United States Constitution: A Graphic
Man to Send Rain Clouds, The, 861 Reflections on the Bicentennial of the Adaptation, The, 83
Marshall, Thurgood, 129 United States Constitution, 129 Untying the Knot, 535
Matatov, Helen, 129 Rockpile, The, 535 Up From Slavery, from, 142
McConnell, Aaron, 82, 83 Runagate Runagate, 741
McCourt, D. F. (“Duff”), 820, 821
W
Menand, Louis, 383
S Wagner Matinée, A, 249
Sandburg, Carl, 493, 494, 496 Walden, from, 215
Miller, Arthur, 561, 562, 601, 629, 661
Second Inaugural Address, 301 Walker, Alica, 764, 765
Momaday, Navarro Scott, 520, 521
Secrets of Yellowstone National Park, 392 Warmth of Other Suns, The, from, 383
Morris, Gouverneur, 30, 31
Self-Reliance, from, 207 Warren, Earl, 360, 361
N Silko, Leslie Marmon, 861 Washington, Booker T., 142
Nature, from, 205 Sleight-Brennan, Sandra, 346, 347 Way to Rainy Mountain, The, from, 521
Notorious Jumping Frog of Calaveras Song of Myself, from, 156 What a Factory Can Teach a Housewife,
County, The, 419 Soul selects her own Society—, The, 172 383
Nye, Naomi Shihab, 265 Soul unto itself, The, 173 What Are You So Afraid Of?, 741
Speech in the Convention, 42 What to the Slave is the Fourth of July?,
O Speech to the Young Speech to the from, 289
O’Brien, Tim, 861 Progress-Toward, 129 What You Don’t Know Can Kill You, 741
Occurrence at Owl Creek Bridge, An, 829 Stanton, Elizabeth Cady, 338, 339 White Heron, A, 433

INDEX OF AUTHORS AND TITLES

Old Man at the Bridge, 754 Steinem, Gloria, 383 Whitman, Walt, 153, 154, 156, 160–162
One Today, 138 Story of an Hour, The, 353 Whiteman, Roberta Hill, 511, 512
On the Beach at Night Alone, 161 Sweet Land of . . . Conformity?, 265 Who Burns for the Perfection of Paper, 383
Wilderness, 496
P T Wilkerson, Isabel, 383
Paine, Thomas, 129 Takei, George, 716, 717
Wood-Pile, The, 535
Parker, Arthur C., 129 Tarbell, Ida, 383
Pedestrian, The, 129 Tell-Tale Heart, The, 861 Y
Poe, Edgar Allan, 861 There is a solitude of space, 176 Young Goodman Brown, 265
Poetry of Langston Hughes, The, 383 They shut me up in Prose–, 175
Porter, Katherine Anne, 842, 843 Thoreau, Henry David, 214, 215, 223 Z
Preamble to the Constitution, 31 Truth, Sojourner, 330, 331 Zigzag Road to Rights, The, 278
Twain, Mark, 407, 408, 418, 419
Savvas
©Allbyrights Learning Company LLC.
reserved.

Index of Authors and Titles  R79

 Additional Selections: Author and Title Index

The following authors and titles appear in the Online Literature Library.

A Fisher, Claude Poe, Edgar Allan

Ambush For Black Women Who Are Afraid Poetry of Langston Hughes, The
Frost, Robert
B R
Balance Between Nature and Nurture, A
G Reckless Genius
Baldwin, James Gladding, Jody Reflections on the Bicentennial of the
United States Constitution
Bears at Raspberry Time H Rockpile, The
Birches
Hamadi Runagate Runagate
Bishop, Elizabeth
Hawthorne, Nathaniel
Blaustein, Arthur
Hayden, Robert S
Books as Bombs, from Silko, Leslie Marmon
Housepainting
Bradbury, Ray Speech to the Young Speech to the
Hughes, Langston
Brooks, Gwendolyn Progress-Toward
Browning, Sarah I Steinem, Gloria
Busch, Akiko Iroquois Constitution, from the Sweet Land of . . . Conformity?

C K T
INDEX OF AUTHORS AND TITLES

Carruth, Hayden Kinnell, Galway Tarbell, Ida

Chang, Lan Samantha Tell-Tale Heart, The
Cofer, Judith Ortiz L
Common Sense, from Latin Deli: An Ars Poetica, The U
Untying the Knot
D M
Daley, Jason Man to Send Rain Clouds, The W
Democracy Is Not a Spectator Sport, Marshall, Thurgood Warmth of Other Suns, The, from
from Matatov, Helen What a Factory Can Teach a Housewife
Derricotte, Toi Menand, Louis What Are You So Afraid Of?
Dillard, Annie What You Don’t Know Can Kill You
Douglass N Who Burns for the Perfection of Paper
Dunbar, Paul Laurence Nye, Naomi Shihab Wilkerson, Isabel
Wood-Pile, The
E O
Espada, Martín O’Brien, Tim Y
Young Goodman Brown
F P
1-800-FEAR Paine, Thomas
Fifth Fact, The Parker, Arthur C.
Fish, The Pedestrian, The
Savvas
©Allbyrights Learning Company LLC.
reserved.

R80  INDEX
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Acknowledgments
The following selections appear in Grade 11 of myPerspectives. Some Jonathan Hennessey. Artwork Copyright ©2008 by Aaron McConnell.
selections appear online only. Reprinted by permission of Hill and Wang, a division of Farrar, Straus
Arte Publico Press. “The Latin Deli” from America’s Review and Giroux, LLC.; “The Fish” from The Complete Poems 1927–1979
by Judith Ortiz Cofer (©1992 Arte Publico Press—University of by Elizabeth Bishop. Copyright ©1979, 1983 by Alice Helen
Houston). Methfessel. Reprinted by permission of Farrar, Straus and Giroux, LLC.

Audible Inc. “How to Tell a True War Story” from The Things They Fischer, Claude. “Sweet Land of...Conformity?,” Boston Globe,
Carried by Tim O’Brien. Copyright ©1990 by Tim O’Brien. June 6, 2010, as adapted from the blog, Made in America.

BBC Worldwide Americas, Inc. Boston Tea Party ©BBC Worldwide Harold Ober Associates. “Dream Variations,” reprinted by
Learning; The U. S. Constitution ©BBC Worldwide Learning; Great permission of Harold Ober Associates Incorporated. Copyright ©1994
Lives: Emily Dickinson—BBC Worldwide Learning; Civil Rights by The Estate Of Langston Hughes; “I, Too,” reprinted by permission
Marches ©BBC Worldwide Learning; CBS Sunday Morning segment of Harold Ober Associates Incorporated. Copyright ©1994 by The
“Mark Twain and Tom Sawyer” ©BBC Worldwide Learning. Estate Of Langston Hughes; “The Negro Speaks of Rivers,” reprinted
by permission of Harold Ober Associates Incorporated. Copyright
Bloomsbury Publishing Plc. “Antojos,” Copyright ©1991 by ©1994 by The Estate Of Langston Hughes; “Refugee in America,”
Julia Alvarez. Later published in slightly different form in How the reprinted by permission of Harold Ober Associates Incorporated.
Garcia Girls Lost Their Accents. Used with permission of Bloomsbury Copyright ©1994 by The Estate Of Langston Hughes.
Publishing Plc.
Harper’s Magazine. “The Leap,” Copyright ©1990 Harper’s
Brooks Permissions. “Speech to the Young, Speech to the Magazine. All rights reserved. Reproduced from the March issue by

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Progress-Toward,” reprinted By Consent of Brooks Permissions. special permission.
Browning, Sarah. “The Fifth Fact,” from Whisky in the Garden HarperCollins Publishers. Pages 33–40 from Dust Tracks on a
of Eden (The Word Words, Washington, DC, 2007). Used with Road by Zora Neale Hurston. Copyright 1942 by Zora Neale Hurston;
permission. renewed ©1970 by John C. Hurston. Reprinted by permission of
Chopin, Kate. “The Story of An Hour” by Kate Chopin, originally HarperCollins Publishers; “Untying the Knot” from Pilgrim at Tinker
appeared in Vogue, 1894. Creek by Annie Dillard. Copyright ©1974 by Annie Dillard. Reprinted
CNN. The Hollywood Blacklist: 1947–1960 ©CNN. by permission of HarperCollins Publishers.

Contently. Why Do Stories Matter? That’s Like Asking Why You HarperCollins Publishers Ltd. (UK). “Storyteller,” “How to Tell
Should Eat ©Contently 2015 a True War Story” from The Things They Carried by Tim O’Brien.
Copyright ©1990 by Tim O’Brien. Reprinted by permission of
Copper Canyon Press. Hayden Carruth, “Bears at Raspberry HarperCollins Publishers Ltd.
Time” from Collected Shorter Poems 1946–1991. Copyright
©1983 by Hayden Carruth. Reprinted with the permission of The Harvard Law Review. “Reflections on the Bicentennial of the
Permissions Company, Inc., on behalf of Copper Canyon Press, www. United States Constitution,” republished with permission of Harvard
coppercanyonpress.org. Law Review, from Harvard Law Review, 101, November 1987;
permission conveyed through Copyright Clearance Center, Inc.
Daily Signal. “Rugged Individualism Fades from National Character”
by Marion Smith, from Daily Signal, June 11, 2012; http://dailysignal. Harvard University Press. “They shut me up in Prose,” The Poems
com/print/?post_id=99695. Used with permission. of Emily Dickinson: Reading Edition, edited by Ralph W. Franklin,
Cambridge, Mass.: The Belknap Press of Harvard University Press,
Don Congdon Associates. “The Pedestrian,” reprinted by Copyright ©1998, 1999 by the President and Fellows of Harvard
permission of Don Congdon Associates, Inc. Copyright ©1951 by the College. Copyright ©1951, 1955 by the President and Fellows of
Fortnightly Publishing Company, renewed 1979 by Ray Bradbury. Harvard College. Copyright © renewed 1979, 1983 by the President
Douglass, Frederick. “What to the Slave is the 4th of July?” by and Fellows of Harvard College. Copyright ©1914, 1918, 1919,
Frederick Douglass (1818–1895). 1924, 1929, 1930, 1932, 1935, 1937, 1942 by Martha Dickinson
Bianchi. Copyright ©1952, 1957, 1958, 1963, 1965 by Mary L.
Dunbar, Paul Laurence. “Douglass” by Paul Laurence Dunbar
Hampson; “I’m Nobody,” The Poems of Emily Dickinson, edited
(1872–1906).
by Thomas H. Johnson, Cambridge, Mass.: The Belknap Press of
Espada, Martin. “Who Burns for the Perfection of Paper,” from city Harvard University Press, Copyright ©1951, 1955 by the President
Learning Company LLC.

of coughing and dead radiators by Martin Espada. Copyright ©1993 and Fellows of Harvard College. Copyright ©renewed 1979, 1983
by Martin Espada. Used by permission of the author. by the President and Fellows of Harvard College. Copyright ©1914,
Estate of Galway Kinnell. “Reckless Genius” by Galway Kinnell, 1918, 1919, 1924, 1929, 1930, 1932, 1935, 1937, 1942 by Martha
from Salon.com. Used with permission of the Estate of Galway Dickinson Bianchi. Copyright ©1952, 1957, 1958, 1963, 1965 by
reserved.

Kinnell. Mary L. Hampson.

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Faber & Faber, Ltd. (UK). ”The Love Song of J. Alfred Prufrock”
from Collected Poems, 1909–1062 by T.S. Eliot. Reprinted by Gloria Steinem. Copyright ©2005 by Gloria Steinem. From the
permission of the publisher, Faber and Faber, Ltd. audio book collection THIS I BELIEVE: The Personal Philosophies of
Remarkable Men and Women edited by Jay Allison and Dan Gedimen.
Farrar, Straus and Giroux. Jacket design and excerpts from
Copyright ©2006 by This I Believe, Inc. Used by permission of Henry
The United States Constitution: A Graphic Adaptation by Jonathan
Holt and Company, LLC. All rights reserved; “A Balance Between
Hennessey, artwork by Aaron McConnell. Text copyright ©2008 by

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 Nature and Nurture” by Gloria Steinem. Copyright © 2005 by Gloria Milkweed Editions. “1-800-FEAR” from Translations from Bark
Steinem. From the book This I Believe: The Personal Philosophies of Beetle by Jody Gladding (Minneapolis: Milkweed Editions, 2014).
Remarkable Men and Women edited by Jay Allison and Dan Gediman. Copyright ©2014 by Jody Gladding. Reprinted with permission from
Copyright ©2006 by This I Believe, Inc. Used by permission of Henry Milkweed Editions. www.milkweed.org.
Holt and Company, LLC. All rights reserved. New Directions Publishing Corp. “Cloudy Day,” by Jimmy
Holy Cow! Press. Roberta Hill Whiteman, “In the Longhouse, Santiago Baca, from Immigrants in Our Own Land, copyright ©1979
Oneida Museum” from Star Quilt. Copyright ©1984, 2001 Roberta by Jimmy Santiago Baca. Reprinted by permission of New Directions
Hill Whiteman. Reprinted with the permission of The Permissions Publishing Corp.
Company, Inc., on behalf of Holy Cow! Press, www.holycowpress.org. PARS International Corporation. “What You Don’t Know Can
Houghton Mifflin Harcourt. “Wilderness” from The Complete Poems Kill You,” from Discover, October 3, 2011 ©2011 Discover Media. All
of Carl Sandburg. Revised and Expanded Edition. Copyright ©1970, rights reserved. Used by permission and protected by the Copyright
1969 by Lilian Steichen Sandburg, Trustee. Reprinted by permission of Laws of the United States. The printing, copying, redistribution, or
Houghton Mifflin Harcourt Publishing Company. All rights reserved; retransmission of this Content without express written permission is
“How to Tell a True War Story” from The Things They Carried by Tim prohibited; “What Are You So Afraid Of?,” from The New York Times,
O’Brien. Copyright ©1990 by Tim O’Brien. Reprinted by permission of October 26, 2014 ©2014 The New York Times. All rights reserved.
Houghton Mifflin Harcourt Publishing Company. All rights reserved. Used by permission and protected by the Copyright Laws of the
Houghton Mifflin Harcourt Publishing Co. Excerpts from United States. The printing, copying, redistribution, or retransmission
Farewell to Manzanar by Jeanne W. Houston and James D. Houston. of this Content without express written permission is prohibited;
Copyright ©1973 by James D. Houston, renewed 2001 by Jeanne USA Today Ken Burns: Secrets of Yellowstone National Park from
Wakatsuki Houston and James D. Houston. Reprinted by permission USA Today - Education, 2016 ©2014 Gannett-USA Today Education
of Houghton Mifflin Harcourt Publishing Company. All rights Resources. All rights reserved. Used by permission and protected
reserved; “Everyday Use” from In Love & Trouble: Stories of Black by the Copyright Laws of the United States. The printing, copying,
redistribution, or retransmission of this Content without express
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Women by Alice Walker. Copyright ©1973, and renewed 2001 by

Alice Walker. Reprinted by permission of Houghton Mifflin Harcourt written permission is prohibited.
Publishing Company. All rights reserved; “The Jilting of Granny Penguin Group. The Crucible by Arthur Miller, copyright 1952,
Weatherall” from Flowering Judas and Other Stories by Katherine 1953, 1954, renewed ©1980, 1981, 1982 by Arthur Miller. Used by
Anne Porter. Copyright ©1930 by Katherine Anne Porter. Copyright © permission of Viking Books, an imprint of Penguin Publishing Group, a
Renewed1958 by Katherine Anne Porter. Reprinted by permission of division of Penguin Random House LLC.
Houghton Mifflin Harcourt Publishing Company. All rights reserved. Penguin Publishing Group. “The Man to Send Rain Clouds,”
James Baldwin Estate. “The Rockpile,” ©1965 by James Baldwin. Storyteller by Leslie Marmon Silko, copyright ©1981, 2012 by Leslie
Copyright renewed. Collected in Going to the Man, published by Vintage Marmon Silko. Used by permission of Viking Books, an imprint of
Books. Reprinted by arrangement with the James Baldwin Estate. Penguin Publishing Group, a division of Penguin Random House LLC.
John F. Kennedy Presidential Library. Senator Kennedy Reads Princeton University Press. From Walden by Henry David Thoreau.
The Declaration of Independence -1957 - John F. Kennedy Presidential Copyright ©1971 by Princeton University Press, 1999 renewed PUP,
Library and Museum. 1989 paperback edition.
Joy Harris Literary Agency, Inc. “Everyday Use” from In Love & Random House Group Ltd., Permissions Department. “The
Trouble: Stories of Black Women by Alice Walker. Copyright ©1973, Fish,” from Poems by Elizabeth Bishop. Published by Chatto &
and renewed 2001 by Alice Walker. Reprinted by permission of The Windus. Reprinted by permission of The Random House Group
Joy Harris Literary Agency, Inc.; “Everyday Use” from IN LOVE & Limited; “Everything Stuck to Him,” from What We Talk About When
TROUBLE: Stories of Black Women by Alice Walker. Copyright ©1973, We Talk About Love by Raymond Carver. Published by Harvill Press.
and renewed 2001 by Alice Walker. Reprinted by permission of The Reprinted by permission of The Random House Group Limited.
Joy Harris Literary Agency, Inc. Random House UK Limited. “Old Man at the Bridge,” from The
Katherine Anne Porter Literary Trust. “The Jilting of Granny First Forty-Nine Stories by Ernest Hemingway. Published by Jonathan
Weatherall” from Flowering Judas and Other Stories. Used with Cape. Reprinted by permission of The Random House Group Limited.
permission of The Katherine Anne Porter Literary Trust c/o The Random House, Inc. “Chapter 1: In the Beginning” from America’s
Permissions Company, Inc., www.permissionscompany.com. Constitution: A Biography by Akhil Reed Amar, copyright ©2005 by
LA Theatre Works. Audio of The Crucible production by LA Akhil Reed Amar. Used by permission of Random House, an imprint
Theatre Works. and division of Penguin Random House LLC. All rights reserved.
Lincoln, Abraham. President Abraham Lincoln’s Second Inaugural Any third party use of this material, outside of this publication, is
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Address, 16th President of the United States (1861–1865). prohibited. Interested parties must apply directly to Penguin Random
House LLC for permission; Excerpt(s) from Dear Abigail: The Intimate
Lippincott Massie McQuilkin Literary Agents. “Dear Abigail: Lives and Revolutionary Ideas of Abigail Adams Her Two Remarkable
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Her Two Remarkable Sisters,” reprinted by permission of Lippincott by permission of Ballantine Books, an imprint of Random House, a
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Neale Hurston. Used by permission of Little, Brown Book Group Ltd. for permission; “The Stirrings of Discontent,” Excerpt(s) from The
Liveright Publishing Corporation. “Runagate Runagate.” Warmth of Other Suns: The Epic Story of America’s Great Migration
Copyright ©1966 by Robert Hayden, from Collected Poems of by Isabel Wilkerson, copyright ©2010 by Isabel Wilkerson. Used by
Robert Hayden, edited by Frederick Glaysher. Used with permission of permission of Random House, an imprint and division of Penguin
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 material, outside of this publication, is prohibited. Interested parties Lake; The Seneca Prophet, The Constitution of the Five Nations by
must apply directly to Penguin Random House LLC for permission; Arthur Parker. Copyright ©1981. Used with permission of Syracuse
“Mother to Son,” “Dream Variation,” “I, Too,” “The Negro Speaks University Press.
of Rivers,” and “Refugee in America” from The Collected Poems of Tarbell, Ida. “What a Factory Can Teach a Housewife” by Ida Tarbell,
Langston Hughes by Langston Hughes, edited by Arnold Rampersad The Association Monthly, Volume X (February 1916–February 1917).
with David Roessel, Associate Editor, copyright ©1994 by the
Estate of Langston Hughes. Used by permission of Alfred A. Knopf, Television Academy Foundation. George Takei on the Japanese
an imprint of the Knopf Doubleday Publishing Group, a division of internment camps during WWII ©Television Academy Foundation.
Penguin Random House LLC. All rights reserved. Any third party use The White House Photo Office. Richard Blanco reading 2013
of this material, outside of this publication, is prohibited. Interested inaugural poem courtesy of The White House.
parties must apply directly to Penguin Random House LLC for U.S. Supreme Court. “Supreme Court Decision / Chief Justice Earl
permission. Warren’s opinion, Brown v. Board of Education, 347 U.S. 483 (1954).
Recorded Books, LLC. Excerpts from Farewell to Manzanar by University of New Mexico Press (Rights). From The Way to
Jeanne W. Houston and James D. Houston. Copyright ©1973 by Rainy Mountain by N. Scott Momaday. Copyright ©1969 University
James D. Houston, renewed 2001 by Jeanne Wakatsuki Houston and of New Mexico Press, 1969.
James D. Houston. Used with permission of Recorded Books.
University of Pittsburgh Press. “For Black Women Who Are
Russell & Volkening, Inc. “Untying the Knot,” reprinted by the Afraid” from Tender, by Toi Derricotte, ©1997. Reprinted by
permission of Russell & Volkening as agents for the author. Copyright permission of the University of Pittsburgh Press.
©1974 by Annie Dillard, renewed in 2002 by Annie Dillard.
Venture Literary. From The United States Constitution: A Graphic
Seymour Agency LLC. “A Brief History of the Short Story” by D. F. Adaptation by Jonathan Hennessey, illustrated by Aaron McConnell.
McCourt, from AE Sci Fi, http://aescifi.ca/index.php/non-fiction/37- Copyright 2008. Used with permission of Venture Literary, Inc.
editorials/792-a-brief-history-of-the-short-story?tmpl=component&p
W. W. Norton & Co. “Who Burns for the Perfection of Paper,” from

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rint=1&layout=default&page=. Used with permission of the author
city of coughing and dead radiators by Martin Espada. Copyright
and Seymour Agency.
©1993 by Martin Espada. Used by permission of W. W. Norton &
Shihab Nye, Naomi. “Hamadi,” by permission of the author, Naomi Company, Inc.
Shihab Nye, 2015. First appeared in America Street.
Writers’ Representatives, Inc. From America’s Constitution: A
Simon & Schuster, Inc. “Old Man at the Bridge,” reprinted with the Biography by Akhil Amar. Copyright ©2005. Used by permission of
permission of Scribner, a division of Simon & Schuster, Inc. from The Akhil Amar c/o Writers Representatives LLC, New York, NY 10011. All
Short Stories of Earnest Hemingway by Ernest Hemingway. Copyright rights reserved.
©1938 by Ernest Hemingway. Copyright renewed 1966 by Mary
Wylie Agency. Excerpt from “Books as Bombs: Why the women’s
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movement needed ‘The Feminine Mystique’” by Louis Menand,
Skyhorse Publishing. Excerpted from Democracy is Not a Spectator originally published in The New Yorker. Copyright ©2011 by Louis
Sport by Arthur Blaustein with the permission of Skyhorse Publishing, Menand, used by permission of The Wylie Agency LLC.; The Crucible
Inc. by Arthur Miller. Copyright ©1952, 1953, 1954 by Arthur Miller,
Sleight Brennan, Sandra. Giving Women the Vote by Sandra copyright renewed © 1980, 1981, 1982 by Arthur Miller, used by
Sleight-Brennan ©Sandra Sleight-Brennan. permission of The Wylie Agency LLC.; “Everything Stuck to Him” by
Raymond Carver, collected in What We Talk About When We Talk
Sterling Lord Literistic, Inc. “A Literature of Place,” reprinted About Love. Copyright ©1974, 1976, 1977, 1978, 1980, 1981 by
by permission of SLL/Sterling Lord Literistic, Inc. Copyright by Barry Raymond Carver; 1989 by Tess Gallagher, used by her permission;
Holstun Lopez. “The Man to Send Rain Clouds” from Storyteller by Leslie Marmon
Susan Bergholz Literary Services. “Antojos,” Copyright ©1991 Silko. Copyright ©1981, 2012 by Leslie Marmon Silko, used by
by Julia Alvarez. Later published in slightly different form in How the permission of The Wylie Agency LLC.; “Housepainting” by Lan
Garcia Girls Lost Their Accents by Algonquin Books of Chapel Hill. By Samantha Chang. Copyright ©1995 by Lan Samantha Chang, used
permission of Susan Bergholz Literary Services, New York, NY and by permission of The Wylie Agency LLC.
Lamy, NM. All rights reserved. Yale University Press. From “Mary Chesnut’s Civil War” by Mary
Symphony Space. “Everyday Use” by Alice Walker, as performed Chesnut edited by C. Vann Woodward. Copyright © 1981 by C. Vann
by Carmen de Lavallade at Symphony Space on January 19, 1994. Woodward, Sally Bland Metts, Barbara G. Carpenter, Sally Bland
Courtesy of Symphony Space. Johnson, and Katherine W. Herbert. All rights reserved. Used by
permission of the publisher, Yale University Press.
Syracuse University Press. Arthur C. Parker on the Iroquois:
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152,154,164,166,168 Solarseven/Shutterstock; 153 History Archives/ Getty Images; 383 (C): Jack Delano Farm Security Administration/Office
Alamy; 156 (B) Pictorial Press Ltd/Alamy, (T) Ase/Shutterstock; 160 of War Information Black-and-White Negatives collection, Prints &
Strelka/Shutterstock; 161 Sarun T/Shutterstock; 162 Alex Pix/ Photographs Division, Library of Congress, LC-USF34-040837-D, (BC):
Shutterstock; 170, 172, 180, 182, 184 Win Nondakowit/123RF; 171 Three Lions/Getty Images, (TC): Bettmann/Corbis; 392 Spaces Images/
Atomic/Alamy; 173 Victor Tongdee/Shutterstock; 174 Liveshot/ Blend Images/Getty Images; 393 (B) George Burba/123RF, (BC) Marilyn
Shutterstock; 176 Poprotskiy Alexey/Shutterstock; 177 Edward Bruns/ Angel Wynn/Nativestock/Getty Images, (BCL) Pictorial Press Ltd/Alamy,
Shutterstock; 178 GlebStock/Shutterstock; 186 (TL) Win (BCR) Ekaterina Fribus/Fotolia, (BL) Herbert Kratky/123RF, (BR) Anna
Nondakowit/123RF, (TR) Atomic/Alamy; 187 Atomic/Alamy; 189 (B) Baburkina/Shutterstock, (T) Library of Congress, (C) Lake County

R84  ACKNOWLEDGMENTS AND CREDITS

 Museum/Corbis, (BC) Underwood & Underwood/Corbis, (CR) Alamy; 560 AFP/Getty Images; 561 AFP/Getty Images; 562, 597, 601,
Joserpizarro/Fotolia; (TC) The Metropolitan Museum of Art./Art 625, 626, 629, 647, 657 ,675 ,678, 680, 682, 684 20th Century-Fox
Resource, New York; (CTR) Alan Collins/123RF; (TC) Scott Film Corp/Everett Collection; 569, 574, 611, 616, 650, 653, 671
Rothstein/123RF; (TCL) Minnesota Historical Society/Corbis; (TL) Twentieth Century Fox Film Corporation/Photofest; 577, 593 AF
FromOldBooks.org/Alamy; (TR) Everett Historical/Shutterstock; 396 Archive/Alamy; 600 AFP/Getty Images; 607 Pocumtuck Valley Memorial
Everett Historical/Shutterstock; 401 (B) Herbert Kratky/123RF, (BC) Association, Deerfield MA. All rights reserved; 622, 660, 661 AF archive/
Pictorial Press Ltd/Alamy; (T) FromOldBooks.org/Alamy; 401 (TC) Alamy; 686 (R), 690 (B) Safakcakir/Shutterstock, 686 (L), 690 (T) 20th
Minnesota Historical Society/Corbis; 402 (L) FromOldBooks.org/Alamy, Century-Fox Film Corp/Everett Collection; 687, 689 Safakcakir/
(R) World History Archive/Alamy; (C) ClassicStock/Alamy; 403 (L) Everett Shutterstock; 692 William Fehr/123RF; 701 (B) Nuwatphoto/
Historical/Shutterstock, (R) Pictorial Press Ltd/Alamy; 404 (C) AF archive/ Shutterstock, (C) Television Academy Foundation; 701, 704, 705, 710,
Alamy, (L) Everett Historical/Shutterstock, (R) Everett Collection/Alamy; 713, 715, 720 (T) Library of Congress Prints and Photographs Division
405 (C) Kletr/Shutterstock, (L) Mary Evans Picture Library/Alamy, (R) [LC-DIG-ppprs-00286]; 716 (BL) Bruce Glikas/FilmMagic/Getty Images,
Bettmann/Corbis; 406 (L) Minnesota Historical Society/Corbis, (R) (L) Library of Congress Prints and Photographs Division [LC-DIG-
Pictorial Press Ltd/Alamy; 407 Everett Historical/Shutterstock; 408, 414, ppprs-00286], (R) Television Academy Foundation; 717, 719, 720 (B)
416 Minnesota Historical Society/Corbis; 418 (CL) Everett Historical/ Television Academy Foundation; 723, 734, 736 Nuwatphoto/
Shutterstock, (TL) Minnesota Historical Society/Corbis, (TR) Pictorial Press Shutterstock; 727 Catherine Karnow/Corbis; 741 (T): Lurin/Shutterstock,
Ltd/Alamy; 419 Pictorial Press Ltd/Alamy; 423 Lebrecht; 426, 428 (BC): Frederick Bass/fStop Images GmbH/Alamy, (CT): Jerry Pinkney/
Pictorial Press Ltd/Alamy; 430 (B) Pictorial Press Ltd/Alamy, (T) Minnesota National Geographic Image Collection/Alamy, (B): Patricia
Historical Society/Corbis; 432 Bettmann/Corbis; 433, 444, 446, 448 Verbruggen/123RF; 750 Sergey Nivens/Fotolia; 751 (BCL) World Pictures/
Herbert Kratky/123RF; 439 Maor Winetrob/Shutterstock; 441 Andrei Alamy, (BCR) Historical/Corbis, (BL) Classic Collection/Shotshop GmbH/
Orlov/123RF; 450 Everett Historical/Shutterstock; 459 (B) George Alamy, (BR) Joseph Shields/Getty Images, (CR) Galyna Andrushko/
Burba/123RF, (BC) Marilyn Angel Wynn/Nativestock/Getty Images; 459 Shutterstock, (T) Hulton-Deutsch Collection/Historical/Corbis, (TC)
(BCR) Library of Congress, (C) Lake County Museum/Corbis, (BC) Ximagination/123RF, (TCL) jam4travel/123RF, (TL) NASA; 754
Underwood & Underwood/Corbis; 459 (T) Scott Rothstein/123RF, (TC) Hulton‑Deutsch Collection/Historical/Corbis; 759 (B) Classic Collection/
The Metropolitan Museum of Art./Art Resource, New York; 462 (B) Ulf Shotshop GmbH/Alamy, (BC) World Pictures/Alamy; 759 (T) NASA, (TC)
Andersen/Getty Images, (TL) Scott Rothstein/123RF, (TR) The jam4travel/123RF; 760 (C) Bettmann/Corbis, (L) H. Armstrong Roberts/

ACKNOWLEDGMENTS AND CREDITS

Metropolitan Museum of Art./Art Resource, New York; 463, 469, 470 ClassicStock/Alamy, (R) Everett Collection Historical/Alamy; 761 (C)
Scott Rothstein/123RF; 467 EdgeOfReason/Shutterstock; 472 (L) Scott NASA, (L) Bettmann/Corbis, (R) Wally McNamee/Historical/Corbis; 762
Rothstein/123RF, (R) The Metropolitan Museum of Art./Art Resource, (L) Interfoto/History/Alamy, (R) Robert Maass/Corbis; 763 (CL) Jeremy
New York; 473 The Metropolitan Museum of Art./Art Resource, New Sutton Hibbert/REX/Newscom, (CR) PCN Photography/Alamy, (L) AP
York; 474 Reprinted with Permission of the Artist; 475 (B) Georgia Red Images, (R) Library of Congress; 764 Brad Barket/Getty Images; 765,
Clay, 1946 (oil on canvas), Jones, Nell Choate (1879–1981)/Morris 772, 774, 776, 778 jam4travel/123RF; 771 Gabe Palmer/Alamy; 780
Museum of Art, Augusta, Georgia, USA/Morris Museum of Art, Sophie Bassouls/Sygma/Corbis; 781 World Pictures/Alamy; 782
Augusta, Georgia/Bridgeman Art Library; 476 The Broncho Buster, 1895 Gordo25/Fotolia; 788, 790, 792 World Pictures/Alamy; 794 Ulf
(bronze with brown patina), Remington, Frederic (1861–1909)/Private Andersen/Getty Images; 795, 802, 804, 806 Classic Collection/Shotshop
Collection/Bridgeman Art Library; 477 The Metropolitan Museum of GmbH/Alamy; 799 John Hanley/Shutterstock; 808 Hulton-Deutsch
Art./Art Resource, New York; 478 (B) Scott Rothstein/123RF, (T) The Collection/Historical/Corbis; 817, 821, 824, 826 Ximagination/123RF;
Metropolitan Museum of Art./Art Resource, New York; 480 Historical/ 820 Max Meyer; 828 Bettmann/Corbis; 842 Bernard Gotfryd/Getty
Corbis; 481 Lake County Museum/Corbis; 484 Hulton Archive/Getty Images; 861 (TC): Galyna Andrushko/Shutterstock, (BC): Historical/
Images; 488, 490 Lake County Museum/Corbis; 492 (L) Underwood & Corbis, (B): Joseph Shields/Getty Images.
Underwood/Corbis, (R) Library of Congress; 493 AP Images; 494, 499,
Credits for Images in Interactive Student Edition Only
500 Underwood & Underwood/Corbis; 496 Andamanec/Shutterstock;
497 AP Images; 502 (L) Underwood & Underwood/Corbis, (R) Library of Unit 1
Congress; 503 Library of Congress; 504 (B) Courtesy of the Chicago Arthur Blaustein; B Christopher/Alamy; Bettmann/Corbis; De Agostini
Historical Society, (T) Library of Congress, (B) Lewis Hine, photographer; Picture Library/Getty Images; Everett Collection Historical/Alamy; Everett
505 Lawrence, Geo. R/Library of Congress; 507 Library of Congress; Collection Inc/Alamy; Nelosa/Shutterstock; Svetara /Shutterstock;
508 (B) Library of Congress, (T) Underwood & Underwood/Corbis; 510 Svetara/Shutterstock; © Helen Matatov
(L) Marilyn Angel Wynn/Nativestock/Getty Images, (R) George
Unit 2
Burba/123RF; 511 (B) Christopher Felver/Corbis, (T) Chris Felver/Getty
Images; 512, 517, 519 Marilyn Angel Wynn/Nativestock/Getty Images; Arthur Mones/Brooklyn Museum/Corbis; Courtesy C-Span; Handout/
514, 515 Maxriesgo/Shutterstock; 520 (B) Chris Felver/Archive Photos/ KRT/Newscom; Jane Scherr; Lebrecht Music and Arts Photo Library/
Getty Images; 520 (R) George Burba/123RF, (TL) Marilyn Angel Wynn/ Alamy; Volodymyr Baleha/Shutterstock
Nativestock/Getty Images; 521, 527, 528 George Burba/123RF; 530 (B) Unit 3
George Burba/123RF, (T) Marilyn Angel Wynn/Nativestock/Getty Images; Daily Hampshire Gazette, Kevin Gutting/AP Images; Hulton Archive/
535 (T): Alan Collins/123RF; (TC): Joserpizarro/Fotolia (B): Anna Getty Images; Konstantin Mironov/Shutterstock; Library of Congress
Baburkina/Shutterstock, (BC): Ekaterina Fribus/Fotolia; 544 Fred de Prints and Photographs Division [LC-3a10453u]; Library of Congress
Noyelle/Godong/Corbis; 545 (B) Patricia Verbruggen/123RF, (BC) Prints and Photographs Division [LC-3c17943r]; Louis Menand; Melissa
Learning Company LLC.

Nuwatphoto/Shutterstock, (BL) Safakcakir/Shutterstock, (BR) Frederick Tuckey; Mike Flippo/Shutterstock; Rob Kim/Getty Images for Hearst; Tetra
Bass/fStop Images GmbH/Alamy, (CL) 20th Century-Fox Film Corp/ Images/Corbis; ZUMA Press, Inc./Alamy; 2/Frank Krahmer/Ocean/Corbis
Everett Collection, (CR) Jerry Pinkney/National Geographic Image
Collection/Alamy, (T) William Fehr/123RF, (TC) Library of Congress Prints Unit 4
and Photographs Division [LC-DIG-ppprs-00286], (TL) Granger, NYC/ Anthony Barboza/Getty Images; Elena Akimova/123RF; Eric Schaal/
reserved.

Lebrecht Music & Arts, (TR) Lurin/Shutterstock; 548 William Fehr/123RF; The LIFE Picture Collection/Getty Images; Peter Turnley/Corbis; Richard
Savvas

553 (BCL),( CR), (TL) 20th Century Fox Film Corp/Everett Collection, (BL) Howard/The LIFE Images Collection/Getty Images; Scott McDermott/
©Allbyrights

AF Archive/Alamy, (BR) Safakcakir/Shutterstock, (TR) Granger, NYC/ Corbis; Tanya Cofer

Lebrecht Music & Arts, (CTL) 20th Century Fox Film Corp/Everett Unit 5
Collection; 554 (C) Jan Persson/JazzSign/Lebrecht Music & Arts, (L)
Akiko Busch; Beowulf Sheehan/ZUMA Press/Newscom; Keith Levit/
Christopher Dodge/Fotolia, (R) JT Vintage/Glasshouse Images/Alamy;
Design Pics/Getty Images; Oscar White/Pach Brothers/Corbis; Wrangler/
555 (C) Historic Florida/Alamy, (L) Underwood Archives/The Image
Shutterstock; © Craig Line
Works, (R) Granger, NYC/Lebrecht Music & Arts; 556 Imagemore Co.,
Ltd; 557 (CL) Underwood Archives/UIG Universal Images Group/ Unit 6
Newscom, (CR) 3drenderings/Fotolia, (L) Al Muto/Bettmann/Corbis, (R) Chris Felver/Getty Images; Elise Amendola/AP Images; Everett Historical/
Everett Collection/Everett Collection Historical/Alamy; 558 Blend Images/ Shutterstock; Peter Power/Getty Images.

Credits  R85