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| Venue of communication, one or two other people. |
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| Venue of communication, more than two and less than ten. |
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| Venue of communication, to large groups. |
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| The tendency for your audience to be interested in things that relate and matter to them. |
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| Has 3 components: Identity Knowledge, Mindfulness, and Negotiation Skill. |
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| Knowing what is distinctive about an audience. |
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| Being conscientiously aware of and paying attention to those distinctions of an audience. |
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| The ability to respond to audience differences through sensitivity, politeness, willing adjustment, and collaboration. |
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| Persistent psychological responses, predispositions, or inclinations to act one way or feel a particular way - usually positive or negative - toward something. |
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| Things a person accepts as plausible based on interpretation and judgment, such as believing in a religion or philosophy. |
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| Relates to worth or what a person sees as right or wrong, important or unimportant, desirable or undesirable, and they shape our attitudes and beliefs. (our principles) |
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| Pertaining to your audience's needs and motivations. |
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| Those feelings we have about belonging. |
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| Relates to our strong need for respect from others we view as important. |
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| Relates to the need to feel achievement connected to personal identity, independence, happiness, and potential. |
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| Relate to how they are affected by or identify with other groups of people. |
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| Type of social trait, people your audience members choose to connect with (ex. political parties, religions, or athletic teams). |
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| Type of social trait, those relationships your audience members have with others - specifically race, ethnicity, and culture. |
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| The system that teaches a set of objectives and rules that help us survive and gain societal acceptance within our community. |
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| Geert Hofstede's Value Dimension Model |
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| Model offering a helpful way to look at cultural tendencies and help with adapting appropriately to a culture (or cultures). |
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| Hofstede's Five Dimensions of Culture |
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Definition
| 1. High Power vs. Low Power, 2. Individualist vs. Collectivist, 3. Competitive vs. Nurturing, 4. High-Uncertainty Avoidance vs. Low-Uncertainty Avoidance, 5. Long-Term Orientation vs. Short-Term Orientation. |
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| The most acceptable contemporary method of delivery. (Plan out, rehearse, and deliver speech from outline). |
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| Audience-centered speech. |
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| Occurs when you read word for word from a copy of the speech. |
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| Delivery we use most in our everyday lives and careers. |
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| Unrestricted aim of your speech, (To inform, To persuade, or To accentuate a special occasion). |
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| Giving of information is the aim of this general purpose. |
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| Goal is to reinforce, change, or to influence the attitudes, beliefs, or actions of your audience. |
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| To Accentuate a Special Occasion |
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| To entertain, celebrate, or commemorate is the aim of a special occasion speech. |
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| List of general words and phrases that could be speech topics for you. |
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| Process that will stimulate your creative thinking through "free association" or "clustering". |
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| On a sheet of paper, write down everything you can think of that could be a topic. |
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| Look at the ideas you have in your current idea bank and select an interesting one to build on. Use that as the focal term for new ideas. |
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| Should be between 10-25% of the total speech. |
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| Should be between 5-15% of the speech. |
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| Process of organizing information into larger clusters or associations in order to (a) help your audience remember more of your speech and (b) all you to increase the amount of content you cover in your speech. |
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| Main Points, key ideas of your speech. |
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| Pattern of organization, divides a topic into standard categories or artificial groupings for the main points. |
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| Pattern of organization, follows sequential order based on a timeline for main points. |
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| Pattern of organization, uses space or the physical proximity of a place or objects, usually moving from top to bottom or left to right. |
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| Pattern of organization, represents a cause-effect or effect-cause relationship between main points. |
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| Use of indentation to indicate which subpoints of information follow a more general point on your outline. |
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| Idea that there can never be just one of anything. When there is an A., there needs to be a B. |
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| Words or phrases that signal to the audience where they are with regard to related thoughts and/or what is important to remember. (ex. First, Most importantly). |
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| Mini-introductions, and look like detailed signposts. (ex. There are many reasons why...). |
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| Firsthand knowledge or opinions, either your own or from others. |
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| From your own personal experience or point of view. |
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| When an ordinary person other than the speaker bears witness to his/her own experience and beliefs. |
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| Draws effectiveness from the status of the person testifying, which often stems from his/her popularity, fame, etc. |
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| Specific instances or cases that embody or illustrate points in your speech. |
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| Numerical facts of data that are summarized, organized, and tabulated to present significant info about a given population. |
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| Aim to describe or summarize characteristics of a population or a large quantity of data. |
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| Aim to draw conclusions about a larger population by making estimates based on a smaller sample of that population. |
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| Original sources of information. |
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| Cite, review, or build upon other sources. |
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| Written for readers who are specialists in their academic or professional fields. |
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| Written for general readers. |
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| Restates the content of the material in a simpler format and in your own words. |
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| Helps explain the unfamiliar by comparing and contrasting it to what is familiar. |
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| Compares and contrasts two like things. |
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| Compares and contrasts two essentially different things. |
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| 3 Measures of Credibility |
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| Competence, Trustworthiness, and Dynamism. |
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| When perceived as being knowledgeable and confident on the subject they are speaking about. |
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| Defines people's credibility or image in terms of the level of confidence they are perceived to have. |
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| How people use space and their environment to communicate, where a speaker places themselves in relation to the audience. |
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| 4-12 feet, most often used in classroom setting. |
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| Elongating the syllable or word. |
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| 4 Steps to Designing Aids Effectively |
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Definition
| 1. Contrast, 2. Repetition, 3. Proximity, and 4. Alignment. |
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| Audience members who believe that the speaker is entirely responsible for the effectiveness of the message are falling prey to.. |
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| Physiological process of hearing. |
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| Phase where you make your brain pay attention to the given sound. |
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| Occurs when you apply meaning to a sound and is where communication really begins. |
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| Phase where you give a formal response to the sounds you have processed. |
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| No perceptible response, but still technically a response. |
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| Listen for recreation or enjoyment. |
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| Occurs when your purpose is to give the speaker emotional support. |
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| When you want to gain insight or comprehension. |
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| When you listen carefully to a message in order to judge it as acceptable or not. |
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| "Careful, deliberate determination of whether one should accept, reject, or suspend judgment about a claim and the degree of confidence with which one accepts or rejects it." |
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| Bodily conditions that prevent or constrain your ability to process information. |
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| Emotional conditions that prevent you from focusing on and absorbing a message. |
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| When the verbal and/or nonverbal messages from the speaker are unfamiliar to or misunderstood by the listener. |
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| A deliberate attempt by the speaker to create, reinforce, or change the attitudes, beliefs, values, and/or behaviors of the listener. |
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| When you create a formal speech with the general purpose to persuade. |
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| Unconcealed actions or reactions people have, often in response to some sort of stimuli. |
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| Three common classes of propositions |
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| Seek to alter our beliefs. (Assert that relationships between things exist, that there are appropriate interpretations of the observable world, or what is found in a quest for knowledge. |
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| All ___ ___ have the structural pattern of "something was/is/will be...something." |
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| Attempt to alter belief by examining our subjective reasons to things and our opinions of them. |
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| Singular Value Proposition |
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Definition
| A straightforward evaluation of something based on a standard of judgment the advocate supplies. |
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| Comparative Value Proposition |
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Definition
| Suggests that two things are measured or contrasted to determine which of them is more "valuable" in a given context or situation. |
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| Subject of the value proposition. |
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| Found in the predicate of the proposition, serves as the source of criteria used to evaluate the value object. |
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| Recommends a change in behavior or create a call to action. (Uses the word "should"). |
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| Any (possibly unnoticed) deductively invalid or erroneous arguments with the appearance of validity of a demonstrably false conclusion from plausible reasoning. |
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| Capitalizes on a tendency to believe that scientists are unbiased, competent across an array of disciplines, and the utmost authority on many subjects. |
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| Extends the concepts of authority beyond scientists (otherwise similar to blinding with science). Good way to establish good reasoning. |
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| Invokes a cascading sense of inevitable doom, an impression that one event or decision will set off an irreversible chain of events leading to an undesirable outcome. |
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| Reduces choices in an overly simplistic way. |
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| Combines peer pressure and safety in numbers into the suggestion that because a large number of people holds a certain belief, or acts in a certain way, that belief or action is correct. |
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| Offers a categorical judgment about a group that fails to accurately describe all members of that group. |
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| "After this, therefore because of this." |
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| Offers the illusion of successful argument by identifying a weaker and non-representative variation of an opposing view and refuting it. |
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| Introduces an extraneous element, but doesn't involve any misrepresentation of an opponent's position. Brings in ideas unrelated to the topic at hand. |
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| Inaccurately relates similar entities, concluding that one shared quality implies the likelihood of a different shared quality. |
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| Embodying the essence of the moment. |
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| Technique to transform ordinary words. |
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| Simile, Metaphor, Personification, Oxymoron, Hyperbole, Irony, Onomatopoeia, Rhetorical Questions. |
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| Giving human traits to an object, idea, or animal. |
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| Connecting two ordinarily contradictory words together. |
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| The use of exaggeration for emphasis. |
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| The use of words to convey a meaning that is the opposite of its literal meaning. |
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| Words that imitate the sounds they represent. |
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| Enhancing your words, the techniques of finessing word order that helps you create distinctive language. |
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| Repetition, Assonance, Alliteration, Parallelism, Antithesis, Anastrophe, Asyndeton. |
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| Replicating the same words, phrases, or sentences for emphasis. |
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| Repeating a similar vowel sound. |
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| Repetition of initial consonants in two or more words in close proximity. |
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| Duplicating the same grammatical patterns. |
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| Juxtaposition of contrasting ideas, often in parallel structure. |
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| Reversing expected word order to gain attention. |
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| Deliberately omitting conjunctions. |
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| Disputes over what happened, what is happening, or what will happen. |
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| Disputes asserting something to be good or bad, right or wrong, effective or ineffective. |
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| Disputes over what should or should not be done. |
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| Foundation of a solid argument and addresses the questions: Why should I accept your claim? |
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| Connects the argument to your audience on an emotional level and addresses the questions, So what? Why should I care? |
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| Supports the believability of logical appeals and asks why I should trust your character or data? |
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