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| a system comprised of vocabulary and rules of grammar that allows us to engage in verbal communication |
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| the process of putting thoughts and feelings into verbal symbols, nonverbal messages, or both |
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| the process of developing a thought based on hearing verbal symbols, observing nonverbal messages, or both |
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| words, or the vocabulary that make up a language |
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| the rules that dictate the structure of language |
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| Attributes of Verbal Symbols |
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| words are symbolic, their meanings evolve, they are powerful, their meanings are denotative and connotative, and they vary in levels of abstraction |
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| the word is not the thing but merely a symbol we have agreed to use to stand for it |
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| political correctness, lexical gaps, muted-group theory |
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| words have been agreed upon by some people as having strong meanings and have the ability to affect people dramatically |
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| the literal, conventional meaning of a verbal symbol that most people in a culture have agreed is the meaning of that symbol |
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| the meaning of a verbal symbol that is derived from our personal and subjective experience with that symbol |
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| able to be seen, smelled, tasted, touched, or heard |
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| not able to be seen, smelled, tasted, touched, or heard |
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| model of how linguistic symbols are related to the objects they represent |
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| these figures of speech make our ideas more concrete so others can better understand our meaning |
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| the ability to move up and down the ladder of abstraction from specific to general and vice versa |
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| Probing the Middle Ground |
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| skill that helps you avoid polarization in your verbal communication by exploring the shades of gray that might be more descriptive of the behavior |
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| shifting back and forth between languages in the same conversation |
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| the ease with which a language can express a thought |
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| sex operates in the same way as culture in establishing different rules, norms, and language patterns for men and women (two-culture theory) |
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| age cohorts that, to some extent, share experiences and beliefs |
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| Context and Communication |
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| all of the elements surrounding the people who are interacting |
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| this is something between the speakers which contributes to the contextual cues that affect meaning |
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| these are depended upon to understand verbal codes |
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| language that is demeaning to one sex |
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| words that include the word man but that are supposed to operate generically to include women as well, such as mankind |
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| language that demeans those of a particular ethnicity |
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| the tendency to speak and respond to someone today the same way we did in the past, not recognizing that people and relationships change over time |
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| the tendency to use "either-or" language and speak of the world in extremes |
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| the tendency to respond to words or labels for things as though they were the things themselves |
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| a response that acknowledges and supports another |
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| a response that fails to acknowledge and support another, leaving the person feeling ignored and disregarded |
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| leaving out cues in a message on purpose to encourage multiple interpretations by others |
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| a type of ambiguity that involves choosing our words carefully to give a listener a false impression without actually lying |
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| acknowledging the viewpoints of those with whom we interact |
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| refers to our ability to take responsibility for our own thoughts and feelings often accomplished through I-messages |
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| messages which acknowledge our own positions |
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| list of terms in order of concrete/abstractness |
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| avoiding generalizations by acknowledging the time frame in which we judge others and ourselves |
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| a theory that points to connections among culture, language, and thought. In its strong form, this theory is known as linguistic determinism, and in its weak form, it is known as linguistic relativity |
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| a theory that states that language influences our thinking but doesn't determine it. Thus, if we don't have a word for something in our language, this theory predicts it will be difficult, but not impossible to think about it or notice it |
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| a theory that argues that our language determines our ability to perceive and think about things. If we don't have a word for something in our language, this theory predicts we won't think about it or notice it |
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| communication consisting of words and phrases that are used for interpersonal contact only and are not meant to be translated verbatim |
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| all behaviors other than spoken words that communicate messages and create shared meaning between people |
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| interaction adaptation theory |
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| a theory that suggests individuals simultaneously adapt their communication behavior to the communication behavior of others |
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| ambiguous, regulates conversation, turn-taking, mixed-messages, more believable than verbal messages |
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| in a conversation, nonverbal regulators that indicate who talks when and to whom |
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| the incompatibility that occurs when our nonverbal messages are not congruent with our verbal messages |
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| visual-auditory code which involves the study of a person's body movement and its effect on the communication process |
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| gestures that signal shared understanding between communicators in a conversation |
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| gestures that signal shared understanding between communicators in a conversation |
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| gestures that acknowledge another's feedback in a conversation |
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| gestures that request agreement or clarification from a sender during a conversation |
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| gestures that indicate that another person can speak or that are used to request to speak in a conversation |
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| the extent to which we turn our legs, shoulders, and head toward (or away) from a communicator |
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| aspects of physical appearance, such as body size, skin color, hair color and style, facial hair, and facial features |
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| items we wear that are part of our physical appearance and that have the potential to communicate, such as clothing, religious symbols, military medal, body piercings, and tattoos |
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| part of the face with the most potential for communication |
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| one of the most recognizable nonverbal behaviors that can have both positive and negative effects |
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| nonverbal behaviors that include pitch, rate, volume, inflection, tempo, and pronunciation, as well as the use of vocal distractors and silence |
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| the study of a person's voice also called vocalics |
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| also known as vocal distractors, the "ums" and "ers" used in conversation |
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| nonverbal behaviors such as crying, laughing, groaning, muttering, whispering, and whining |
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| the study of how we communicate through touch, can be playful, for control, ritualistic, task functioned, or hybric |
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| the distance we put between ourselves and others |
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| the distance that extends about eighteen inches around each of us that is normally reserved for people with whom we are close, such as close friends, romantic partners, and family members |
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| ranging from eighteen inches to four feet, the space most people use during conversations |
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| ranging from four to twelve feet, the spatial zone usually reserved for professional or formal interpersonal encounters |
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| communication that occurs at a distance of twelve or more feet, allowing listeners to see a person while he or she is speaking |
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| our sense of ownership of space that remains fixed |
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| items or objects that humans use to mark their territories, such as atable in a coffee shop |
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| the setting in which our behavior takes place |
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| the study of a person's use of time |
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| the scientific measurement of time associated with the precision of keeping time |
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| time that society formally teaches |
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| time that includes three concepts: duration, punctuality, and activity |
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| Cultural Variations in NVC |
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| body movement, facial expressions, personal space, touch |
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| being aware of how you say something, your proximity to the other person, the extent to which you use touch, or your use of silence |
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| ASL (American Sign Language) |
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| a visual rather than auditory form of communication that is composed of precise hand shapes and movements |
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| the physical process of letting in audible stimuli without focusing on the stimuli |
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| the dynamic, transactional process of receiving, recalling, rating, and responding to stimuli, messages, or both |
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| listening is an active and ongoing way of demonstrating that you are involved in an interpersonal encounter |
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| how listening is transactional |
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Definition
| because both the sender and receiver are active agents in the process |
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| acknowledge the message, remember the essence of the message, evaluate the message, provide feedback |
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| being unaware of the stimuli around us |
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| understanding a message, storing it for future encounters, and remembering it later |
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| memory-aiding guides to help you recall things more easily |
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| placing pieces of information into manageable and retrievable sets |
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| evaluating or assessing a message |
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| verifiable and can be made only after direct observation |
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| these fill in a conversation's missing pieces and require listeners to go beyond what was observed |
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| a view, judgment, or appraisal based on our beliefs or values |
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| providing observable feedback to a sender's message |
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| ways to enhance responses |
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| adopting the other's point of view, take ownership of your words and ideas, don't assume that your thoughts are universal |
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| noise (physical, semantic, and psychological), message overload, message complexity, lack of training, preoccupation, listening gap |
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| physical, semantic-unable to grasp the meaning, psychological-message is distorted by biases |
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| the result when senders receive more messages than they can process |
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| messages we receive that are filled with details, unfamiliar language, and challenging arguments are often hard to understand |
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| conversational narcissism |
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| engaging in an extreme amount of self-focusing during a conversation, to the exclusion of another person |
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| the time difference between our mental ability to interpret words and the speed at which they arrive at our brain |
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| selective listening, talkaholism, pseudolistening, gap filling, defensive listening, ambushing |
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| responding to some parts of a message and rejecting others |
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| a compulsive talker who hogs the conversational stage and monopolizes encounters |
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| to pretend to listen by nodding our heads, looking at the speaker, smiling at the appropriate times, or practicing other kinds of attention feigning |
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| listeners who think they can correctly guess the rest of the story a speaker is telling and don't need the speaker to continue |
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| viewing innocent comments as personal attacks or hostile criticisms |
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| listening carefully to a message and then using the information later to attack the sender |
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| a predominant and preferred approach to listening to the messages we hear |
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| people-centered listening style |
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| a listening style associated with concern for other people's feelings or emotions |
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| a listening style associated with listeners who want messages to be highly organized, concise, and error-free |
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| listening style associated with listeners who focus on the facts and details of a message |
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| listening style associated with listeners who want messages to be presented succinctly |
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| culture's effects on listening |
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| differences in feedback may affect message meaning |
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| the process of identifying with or attempting to experience the thoughts, beliefs, and actions of another |
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| feedback that describes another's behavior and then explains how that behavior made us feel |
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| a transactional process in which a listener communicates reinforcing messages to a speaker |
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| restating the essence of a sender's message in our own words |
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| supporting statements, such as "I see" or "I'm listening" that indicate we are involved in a message |
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| advantageous part of communication that allows entire messages to be revealed before we interrupt |
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| the simultaneous performance of two or more tasks |
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| to question in the assumptions underlying a message |
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| the critical internal structure that orients us to and engages us with what matters in our lives: our feelings about ourselves and others. Emotion encompasses both the internal feeling of one person (for instance, anxiety or happiness) as well as feelings that can be experienced only in a relationship (for instance, jealousy or competitiveness) |
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| Category Systems for emotion |
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| one categorizes emotion along two dimensions at once in valence and activity depending on whether they are active-negative, active-positive, passive-negative, or passive-positive. The other is based on its intensity where an emotion cone provides a graduated image of emotional range. |
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| an attribute of emotion that refers to whether the emotion reflects a positive or negative feeling |
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| Biological theory of Emotion |
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| proponents of this agree with Darwin that emotion is mainly related to instinct and energy |
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| Social Interaction Theory of Emotion |
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| theory acknowledges that biology affects emotion and emotional communication, however proponents are also interested in how people interact with their social situation before, during, and after the experience of emotion |
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| how communication is conveyed |
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| face, vocal cues, gestures, verbal cues, and combinations of cues |
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| culture-differ in thought and communication of emotions, gender and sex- stereotypes, climate, history-different feeling rules, context-FTF vs CMC |
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| the process of transferring emotions from one person to another |
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| CMC (computer-mediated communication) |
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| online emotional communication |
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| embarrassment, guilt, hurt, jealousy, anger, depression, and loneliness |
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| mixture of both bright and dark side emotions |
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| set of acquired skills and competencies that predict positive outcomes at home with family, in school, and at work |
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| one's ability to express or release one's inner feelings |
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| skills to develop emotional competence |
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| analyze the situation, own feelings by using I messages, reframe when necessary, be empathic |
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| suspending our own responses while listening so we can concentrate on what another person is saying |
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| a way of thinking that constructs polar opposite categories to encompass the totality of a thing. This prompts us to think about things in an "either-or" fashion |
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| an icon that can be typed on a keyboard to express emotions; used to compensate for the lack of nonverbal cues in computer-mediated communication |
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| a message phrased to show we understand that our feeling belong to us and aren't caused by someone |
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