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COMM 333 > FINAL EXAM > Flashcards

FINAL EXAM Flashcards

1
Q

2 Models of Communication

A

Transmission and Ritual Model

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2
Q

2 Models of Communication was theorized by

A

James Carey

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3
Q

Transmission Model

A

A process whereby messages are transmitted and distributed in space for the control of distance and people.

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4
Q

Ritual Model

A

A symbolic process whereby reality is produced, maintained, repaired and transformed

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5
Q

Transmission Model imparts, sends and transmits knowledge through

A

Transportation and across geographical distances

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6
Q

Ritual Model shares, participates and represented shared beliefs expressed through

A

Ideals, embodied in dance, plays and stories

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7
Q

3 Assumptions of Performance

A

Mimesis, Poiesis and Kinesis

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8
Q

Mimesis was theorized by

A

Aristotle

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9
Q

Mimesis is viewed as the

A

Faking of cult

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10
Q

Mimesis is an imitation or mirror

A

Reflection of work, staged dramas imitate action of life

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11
Q

Examples of Mimesis

A

Plays, movies, film, tv

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12
Q

Poiesis was theorized by

A

Victor Turner

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13
Q

Poiesis is performance viewed as the

A

Making of cult

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14
Q

Poiesis are performance produced in

A

Culture, makes that cult of tradition and sustains cultural traditions. New identities of self are created and maintained

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15
Q

Examples of Poiesis

A

Bar/bat mitzvahs, baptisms, quinceaneras, debuts

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16
Q

Kinesis is theorized by

A

Dwight Conquergood

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17
Q

Kinesis is performance is viewed as the

A

Breaking/remaking of cult

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18
Q

Kinesis performances can transgress

A

Boundaries, break structures and remake social/political rules, critique old structures and makes us question old traditions

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19
Q

Kinesis Examples

A

SNL, PETA, activist, protest art

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20
Q

Performance is constitutive =

A

Performance creates

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21
Q

Performance is Epistemic =

A

Is a way of knowing

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22
Q

Performance is Critical =

A

Is a way of staking claim about the creation of knowledge

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23
Q

Constitutive performance creates

A

Identity: race, gender, class, sexual orientation, abilities, age

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24
Q

Examples of Constitutive Performance

A

Weddings, football games, step shows… participate to create ourselves and cultures we embody

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25
Q

Performance is Epistemic through

A

Oral reading of literary texts, knowing the world through daily practice, repetition and subconscious acts

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26
Q

Performance is Critical through

A

Uncovering/exposing/challenging power structures and practices. Provides insight and inspires social activism

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27
Q

Examples of Critical Performances

A

Songs, dance performances, news coverage, social media, documentaries, films, books

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28
Q

3 Definitions of Performance

A

Process & Product, Productive & Purposeful, Traditional & Transformational

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29
Q

Process & Product

A

Derived from a set of activities, is a product, an accomplishment, an event

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30
Q

Productive & Purposeful

A

Causes, creates, produces both itself and things outside of itself. Is utilized to do meaningful things for individuals, groups and cults.

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31
Q

Traditional & Transformational

A

Makes reference to former ways of doing, acting, seeing and believing which upholds the status quo. Critiques or changes the status quo.

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32
Q

3 elements that mark or frame performances as a mode of communication:

A

Performer competence, audience evaluation and heightened experience

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33
Q

Performer competence

A

Displaying of effective skills and attitudes

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34
Q

Heightened experience

A

Performance is marked for enhancement of life experience

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35
Q

Audience evaluation

A

Skills & effectiveness of performance judged (positively/negatively)

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36
Q

Audience communicates positive expressions through

A

Applause, standing ovation, shouts of bravo, finger snaps

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37
Q

Audience communicates negative expressions through

A

Booing, hissing, silence

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38
Q

Frames

A

Ways of organizing understanding & Interpreting experiences.

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39
Q

Frames serve to

A

Delimit messages, are metacommunication (carry out instructions of how to interpret messages, events and actions), are transformative

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40
Q

Frames are generated through having something to

A

Observe, evaluate, analyze through theater, art, media.

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41
Q

However, Frames can be (3 things)

A

Broken, cause confusion, can slip

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42
Q

4th wall

A

Refers to an imaginary wall at the front stage of stage

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43
Q

Frame Breaking

A

Is a way to call attention to the performance itself (through asking audience participation)

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44
Q

Reasons the 4th wall is broken

A

Comic relief, actively enroll the audience, confessional (reality tv)

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45
Q

Frame Confusion

A

Occurs when people (actors and audiences) are “in the know” at the reality of the frame, while others are not.

46
Q

2 genres that play with frame confusion

A

Television (punk’d) and mockumentaries (the offices)

47
Q

Frame slippage

A

Occurs when the frames slip activity starts out as harmless - or for fun - but turns deadly or dangerous

48
Q

Examples of frame slippage

A

Frat hazing, sporting events, concerts

49
Q

3 Levels of Performer Consciousness

A
  1. Oneself performing aware of frame and relationships between self, frame and audience
  2. Ones inner dialogue between ordinary self and performance self
  3. Self awareness of audience feedback and adapting of the performance situation to appeal to aud emotions
50
Q

Constitution Performance thru Audience Participation (4 Levels)

A
  1. Inactive-receiver
  2. Active-respondent
  3. Interactive-coproducer
  4. Proactive-producers
51
Q

Inactive-receiver

A

Audience remains passive/quiet attentiveness (weddings, funerals)

52
Q

Active-respondent

A

Audience is invited to complete cues offered during performance (church service, concert, poetry)

53
Q

Interactive-coproducer

A

Audience expected to perform interactive/improvisational

54
Q

Proactive-producers

A

Lines blurred between actors and audience and proactively produced (festivals, community, celebrations)

55
Q

Social Drama was coined by

A

Victor Turner

56
Q

Social Drama

A

Can be used to analyze how people handle conflict and restore order

57
Q

Social Dramas are centered in

A

Conflict, unfold in unpredictable, observable stages and involves public forms of communication

58
Q

4 Stages of Social Drama

A
  1. Breach
  2. Crisis
  3. Redress
  4. Reintegration or Schism
59
Q

Stage 1: Breach

A

Occurs when a member of a community breaks a rule, the stability of the social unit is threatened

60
Q

In order for the rule breaking to constitute a breach, the rule must be held by the

A

Community as “binding”

61
Q

Stage 2: Crisis

A

Occurs when sides are taken for or against the rule breaker; there is “a widening of the breach into increasingly open or public displays

62
Q

Stage 3: Redress

A

Occurs when repairs/alternative solutions are enacted to resolve breach

63
Q

The act of redressing entails

A

Personal advice, formal/legal/judicial measures and performance of public ritual

64
Q

Redressing involves

A

Reflexive (Ways a community looks at itself to measure what one member has done in relation to agreed upon standards) and Liminality (a suspended knowledge about the outcome)

65
Q

Stage 4: Reintegration

A

If the repairs work, the group returns to normal, but it the repairs fail, the group breaks apart.

66
Q

Rites of Passage was theorized by

A

Arnold van Gennep

67
Q

Rites of passage

A

Marks life changes and milestones

68
Q

3 Stages of Rites of Passage

A
  1. separation
  2. transition
  3. incorporation
69
Q

ROP Stage 1: Separation

A

Allows for the individual to separate or be isolated from his/her customary environment

70
Q

ROP Stage 2: Transition

A

The 2nd/middle stage allows for the individual to “cross” the new thresholds, learns new behavior for the new entering stage

71
Q

ROP Stage 3: Incorporation

A

The 3rd/final stage allows for the individual to be incorporated into his/her new group or status and returned to customary environment

72
Q

Catherine Bell claims there are 5 characteristics of ritual-like activities:

A

Formalization, traditionalism, invariance, rule governance, sacral symbolism

73
Q

Formalization

A

There’s a degree of formality in dress or speech that marks an activity as ritual-like (costumes, languages, gestures)

74
Q

Traditionalism

A

Honors and in keeping with traditional practices and ways of acting

75
Q

Invariance

A

Stresses precise repetition and physical control; actions are performed the same each time

76
Q

Rule governance

A

Maintains that ritual-like activities are governed by rules that guide and direct the activities

77
Q

Sacral symbolism

A

Appeals to supernatural beings. People and objects become sacred through ritual acts

78
Q

Cultural Performance was theorized by

A

Milton Singer

79
Q

Cultural performances are marked by modes of

A

Action that display special features that frame performances as meaningful acts within a community. A limited time span, organized program of activity, a set of performers, audience and place

80
Q

Notions of Liminality

A

The between Stages of ritualized events can be experienced in public places

81
Q

Communitas

A

A sense of soaring & intimacy that develops among persons who experience Liminality as a group

82
Q

Which theorist outlined the 4 ethical pitfalls performers should be aware of?

A

Dwight Conquergood

83
Q

4 Ethical Pitfalls

A

Custodians rip off, enthusiastic infatuation, curator’s exhibitionism, skeptic’s cop out

84
Q

Custodians Rip Off

A

Performer is selfish in his/her portrayal (take/steal from the other to make a profit)

85
Q

Enthusiastic Infatuation

A

Performer superficially portrays the other without having done research - performer minimizes difference at the expense of erasing the other

86
Q

Curator’s Exhibitionism

A

Performer stereotypically portrays the other by starkly highlighting difference - to shock - focus is on the exotic portrayal of the other

87
Q

Skeptic’s Cop Out

A

Performer is cynical about performing the other - performer feels that they shouldn’t do performance because they don’t share cultural membership of the other

88
Q

The worst pitfall out of the 4 is

A

Skeptics cop out

89
Q

Social Self was coined by

A

Erving Goffman

90
Q

4 Interlocking Components in performances of social roles

A
  1. Belief in the part
  2. Social Fronts
  3. Dramatic Realization
  4. Idealization
91
Q

Belief in the part

A

The social roles we perform everyday to create the impressions for ourselves and for others that we are who we claim to be

92
Q

Social Fronts

A

We perform these roles with the aid of expressive equipment (setting, personal fronts, appearances, manner)

93
Q

Dramatic Realization

A

Social Roles are produced in the moment they are performed - during the “social” interaction.

94
Q

Idealization

A

When we perform these roles we try to measure up to an “ideal”… which is often learned, practiced and culturally specific

95
Q

Goffman defines performing spaces as

A

Any place bounded to some degree by barriers to perception

96
Q

Front region

A

Front stage of everyday life

97
Q

Front region behaviors include

A

Politeness, decorum, Formal behaviors, putting on a character, role

98
Q

Back Region

A

Back stage of everyday life

99
Q

Back Region behaviors

A

Are informal behavior, taking off mask, comfortable, casual spaces and behaviors

100
Q

Dramaturge also refers to

A

Drama enactment, rules of that enactment

101
Q

Goffman 5 techniques of managing impressions

A
  1. Dramaturgical loyalty
  2. Dramaturgical discipline
  3. Dramaturgical circumspection
  4. Protective practices
  5. Tact
102
Q

Dramaturgical loyalty

A

Team members acting as if they have accepted the moral obligations of being a team member.

103
Q

Dramaturgical discipline

A

The control of the face and voice by an individual, the presence of mind and poise necessary to pull off that role

104
Q

Dramaturgical Circumspection

A

Performer must show prudence, foresight care and honesty in the performance; circumspect performer is one who is reflexive about her/his choices

105
Q

Protective practices

A

Performance and people “stepping in” to save the show in moments of crisis, distress

106
Q

Tact

A

Performers must always be alert for cues of mistaken impression and be ready to correct

107
Q

Role Distance

A

Refers to detachment of the performer from the role he or she is performing

108
Q

Discrepancy Roles

A

Roles that posses an unusual and perhaps unapparent combo of 3 essential factors: available information, region access and function of the performance

109
Q

Informer

A

Someone who pretends to be a team member , but works for the audience

110
Q

Shill

A

Pretends to be a member of the audience, but allies the performers

111
Q

Non person

A

Who are present but are considered to be neither performers nor audience

COMM 333 (1 decks)

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