| Term | Definition |
|---|
| Bonjour! | Hello! |
| Comment t'appelles-tu? | What's your name? |
| Je m'appelle ... | My name is ... |
| moi | me |
| et toi? | and you? |
| Tu es de ...? | Are you from ...? |
| Je suis de ... | I am from ... |
| Tu es ...? | Are you ...? |
| Je suis ... | I am ... |
| française | French (f) |
| anglais | English (m) |
| anglaise | English (f) |
| américain | American (m) |
| américaine | American (f) |
| canadien | Canadian (m) |
| canadienne | Canadian (f) |
| oui | yes |
| non | no |
| et | and |
| ou | or |
| aussi | also, too |
| Salut! | Hi! |
| monsieur | sir / Mr. |
| madame | ma'am / Mrs. |
| mademoiselle | miss / Ms. |
| Au revoir! | Good-bye! |
| Ça va? | How's everything? |
| Ça va. | Everything's all right. |
| Ça va très bien. | Everything's going very well. |
| Ça va bien. | Everything's going well. |
| Comme ci, comme ça. | Everything's so-so. |
| Ça va mal. | Everything's going badly. |
| Ça va très mal. | Everything's going very badly. |
| Zut! | Darn! |
| Merci! | Thanks! |
| Comment vas-tu? | How are you? (familiar) |
| Comment allez-vous? | How are you? (formal) |
| zéro | 0 |
| un | 1 |
| deux | 2 |
| trois | 3 |
| quatre | 4 |
| cinq | 5 |
| six | 6 |
| sept | 7 |
| huit | 8 |
| neuf | 9 |
| dix | 10 |
| onze | 11 |
| douze | 12 |
| treize | 13 |
| quatorze | 14 |
| quinze | 15 |
| seize | 16 |
| dix-sept | 17 |
| dix-huit | 18 |
| dix-neuf | 19 |
| vingt | 20 |
| Allusion | A reference to something known from history, literature, mythology, etc. |
| Alliteration | The use of repeated beginning consonant sounds. |
| Onomatopoeia | A word whose sound imitates its meaning. |
| Personification | A kind of metaphor in which a nonhuman thing or quality is given human traits or capabilities. |
| Hyperbole | An exaggeration to create an effect. |
| Simile | A comparison using "like" or "as". |
| Metaphor | A comparison of unlike things to call attention to a similiarity. It is like an analogy or simile, but does not use "like" or "as". |
| Symbolism | A concrete object (or person) that stands for or represents an abstract idea. |
| Imagery | The use of sensory detail. |
| Idiom | A turn of phrase used in a certain locale. |
| Colloquialsm | An expression used in common conversation. |
| Oxymoron | Combining of two opposite terms. |
| Paradox | A statement that goes against common sense but is actually true. |
| Metonymy | Substituting the name of a thing for that of another closely associated with it. |
| Synecdoche | Uses part to represent the whole. |
| Genre | Type of literature |
| Fiction | Story that is not true |
| Non-Fiction | Writing that is true |
| Biography | A story written about an actual person |
| Autobiography | A story about a person written by him/herself |
| Drama | A script with acts/scenes |
| Fantasy | Fiction with mythical or magical creatures/events/places |
| Science Fiction | Fiction in which the author imagines "what if" something could happen; science-related or futuristic; often a commentary on society |
| Historical Fiction | Fiction set in the past, usually with a significant amount of research of actual events, people, or setting |
| Horror | Fiction intended to terrify |
| Mystery | Fiction with a puzzle and clues that lead to the solution |
| Realistic Fiction | Fiction that seems as though it could actually happen |
| Satire | A fictional account which pokes fun at real characters, situations, concepts, or the follies of mankind, usually for the purpose of producing some change in attitude or action. |
| Paraphrase | A restatement of a piece of writing, expressing the same ideas in different words. |
| Summary | a restatement of a piece of writing in a shorter, more concise way. |
| Character | The main character, or Protagonist, usually shows some change or growth in the story. Minor characters may help move the story along. An Antagonist presents obstacles for the Protagonist. |
| Characterization | Authors create characters using many methods: actions, reactions of others, dialogue, thoughts/feelings, narrative comments, group affiliation. |
| Conflict | Tension, struggle, or problem that drives the plot. These may be Individual versus Other, Individual versus Self, Individual versus Society, Individual versus Nature, Society versus Society. |
| Climax | The high point of excitement or final decisive turning point of the story. |
| Resolution | How the conflict ends. |
| Plot | The story line from the beginning, middle, to end; the plan, design, or pattern of events in a play or narrative. |
| Setting | The time, place, and context of a story. |
| Mood | The feeling of a piece of writing, created by the style and content (scary, anxious, peaceful, authoritative . . . ). |
| Theme | The main idea of a work of literature. The theme is not the same as the subject, which might be expressed in a work or two ("love" or "childhood"). |
| Tone | The reflection of the author's attitude, style, manner, mood, and outlook. |
| Foreshadowing | Hints or clues created to add suspense and give an inkling about what might happen later in the story. |
| Inference | "Reading between the lines" or trying to figure out what is implied, but not stated. A general conclusion may be drawn from particular details. From "he walked with heavy steps" the reader infers he is reluctant or tired. |
| Irony | Verbal Irony is when a character says the opposite of what he or she really means or feels. Situational irony is an occurrence that is the opposite of what one might expect. Dramatic Irony is when the audience (and perhaps some characters) know something that a character does not. |
| Point Of View | The vantage point or stance or perspective from which a story is told; the eye and mind through which the account is perceived and filtered. First person account uses "I" to tell the story. Third Person Omniscient uses "he" or "she" or "they" to refer to the characters and tells us what the characters think and feel. Third Person Limited can only reveal the inside of one character. Third Person Objective has a fly on the wall view - no knowledge of thoughts/feelings. |
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