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Midterm Examination > SEE 16 > Flashcards

SEE 16 Flashcards

1
Q

This is basically the transmission of knowledge from one location, person or group to another.

A

Communication

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2
Q

It is the distribution or sharing of information by speaking, writing, or using other means.

A

Communication

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3
Q

It is a constructive conveyance or exchange of feelings and thoughts.

A

Communication

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4
Q

What are the Basic Parts of Communication

A

The Speaker, the message, and the recipient

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5
Q

Encodes the letter

A

Sender

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6
Q

Decoder of the letter

A

Receiver

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7
Q

In this communication, the position of sender and receiver are NOT DISTINCT.

A

Face-to-Face Communication

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8
Q

Often serve an essential communication role, as they allow us to see specific concepts and steps in the communication process, recognize communication concepts and apply communication concepts.

A

Models

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9
Q

What are the Three Communication Models

A

Transmission Model of Communication, Interactive Model of Communication, and Transaction Model of Communication.

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10
Q

The other term for Transmission Model of Communication

A

Linear Model

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11
Q

This focuses on the transmitter and message within a communication relationship.

A

Transmission Model of Communication

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12
Q

A one way process through which a transmitter actively transmits a message to a receiver.

A

Transmission Model of Communication

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13
Q

This is more concerned with the communication process itself.

A

Interactive Model of Communication

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14
Q

Defines communication as a mechanism in which participants exchange roles as sender and receiver and make sense by conveying messages and receiving input in physical and psychological contexts.

A

Interactive Model of Communication

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15
Q

This model includes feedback, making contact more collaborative, and bidirectional mechanism.

A

Interactive Model of Communication

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16
Q

Defines communication as a mechanism in which communicators create social realities within financial, relational, and cultural contexts.

A

Transaction Model of Communication

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17
Q

This also incorporates a more nuanced conceptual interpretation.

A

Transaction Model of Communication

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18
Q

Messages don’t stop, either, when you stop talking.

A

Non-verbal Communication

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19
Q

Five roles of nonverbal communication

A

Repeat, Contradiction, Substitution, Complementing, and Accenting

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20
Q

It confirms and also reinforces the message you are making verbally

A

Repeat

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21
Q

This can contradict the message that you are attempting to express, demonstrating to your audience that you might not be telling the truth.

A

Contradiction

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22
Q

Can be a replacement for a verbal message.

A

Substitution

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23
Q

It can add or add to your verbal message.

A

Complementing

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24
Q

It can accentuate or reinforce a verbal message.

A

Accenting

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25
Q

Types of Nonverbal Communication

A

Facial Expressions, Body Movement and Posture, Gestures, Eye Contact, Touch, Space, and Voice.

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26
Q

This is contact and exchange of information between individuals who are members of a community, culturally, geographically or linguistically alike.

A

Group Communication

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27
Q

Both methods of interacting are equally important because it is through this interaction that members of the community can engage in defining goals, making decisions and solving problems.

A

Verbal and Non-Verbal Group Communication

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28
Q

Two Group Types in Group Communication

A

Primary and Secondary Groups

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29
Q

This addresses the bulk of individual needs.

A

Primary Groups

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30
Q

This typically comprise occupational groups or working classes.

A

Secondary Groups

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31
Q

7 Elements of Public Speaking

A

Speaker, Message, Channel, Listener, Feedback, Interference, and Situation

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32
Q

The person who initiated the interaction or conversation.

A

Speaker

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33
Q

This refers to something the speaker communicates to the audience about a given subject.

A

Message

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34
Q

This refers to the thing that allows for communication or conversation.

A

Channel

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35
Q

The recipient of the call to the other end of the line. At private talks, you could have two or more listeners. The audiences in the process are the listener and everyone who has the message received in public.

A

Listener

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36
Q

This refers to the response of the recipient, or the receiver of the message according to the text. This can be either audible or non-verbal.

A

Feedback

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37
Q

That is something that affects the communications process. That may be indoors or out.

A

Interference

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38
Q

This is the process of negotiations relates to the time and location where the discussion took place.

A

Situation

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39
Q

What are the four basic types of communication?

A

Dyadic Communication, Small-group Communication, Large-group Communication, and Mass Communication.

40
Q

It’s an interpersonal relationship that involves a situation that talks face to face.

A

Dyadic Communication

41
Q

It is an expanded mode of conversation. It is also a cooperative and systematic discussion by several people who pool their ideas together in a lively, informal knowledge-and-opinion interaction.

A

Small-group Communication

42
Q

This is also known as a public address. It is a contact situation consisting of a speaker who addresses a large crowd.

A

Large-group Communication

43
Q

It is a study of how individuals and organizations simultaneously communicate information to broad segments of the population.

A

Mass Communication

44
Q

Five Levels of Communication

A

Verbal, Physical, Auditory, Emotional, and Energetic Level

45
Q

This level involves our string of words between speaker and listener based on a meaning.

A

Verbal Level

46
Q

Visual signs such as eye contact , gestures, actions, positions, breathing, posture and facial expressions affect how we feel and how we interact are important.

A

Physical Level

47
Q

Our voice sound including tone, range, volume and speed affects how others receive and interpret our messages.

A

Auditory Level

48
Q

This places the audience in a certain mindset and affect the perception of what’s being said by the listener.

A

Emotional Level

49
Q

Often known as the visceral level, this stage of communication involves a large array of invisible influences.

A

Energetic Level

50
Q

Five Speech Mechanisms

A

Trachea, Larynx, Pharynx, Oral Cavity, and Nasal Cavity

51
Q

Three Structure of the Speech Process

A

Structure of Respiration, Structure of Resonation, and Structure of Articulation

52
Q

This is the breathability structure.

A

Structure of Respiration

53
Q

It’s the structure that makes / vibrates sound.

A

Structure of Resonation

54
Q

This system is responsible for producing distinct speech sounds.

A

Structure of Articulation

55
Q

Four Methods of Speech Delivery

A

Impromptu Speaking, Extemporaneous Speaking, Speaking from a Manuscript, and Speaking From memory

56
Q

This is the delivery of a brief message without rehearsal beforehand.

A

Impromptu Speaking

57
Q

This occur when someone is asked to “say a few words” or at a special event to give a toast.

A

Impromptu Speaking

58
Q

The benefit of such speaking is that it is spontaneous and sensitive in a sense of an animated community. The downside is that the speaker is given little or no time to ponder the message’s central theme.

A

Impromptu Speaking

59
Q

This is the delivery of a carefully prepared and rehearsed voice, delivered using brief notes in a conversational way.

A

Extemporaneous Speaking

60
Q

This can establish and maintain eye contact with the audience by using notes rather than a full manuscript, and assess how well they understand the speech as it progresses.

A

Extemporaneous Speaking

61
Q

This increases the possibility that you, the speaker, will be seen as competent and trustworthy. But it needs a lot of training for both the verbal and nonverbal elements of the voice.

A

Extemporaneous Speaking

62
Q

This is the word-for-word iteration of a written message.

A

Speaking from a Manuscript

63
Q

The benefit of this is the exact repeat of the original words. However presenting is usually an uninteresting approach and the delivery appears to be boring, thus avoids viewers eye contact.

A

Speaking from a Manuscript

64
Q

A rote recitation of a written message that the speaker committed to memory

A

Speaking from memory

65
Q

This can be helpful when it comes to speeches when the meaning needs to be precise and the speaker doesn’t want to be limited by notes.

A

Memorization

66
Q

Benefits and Disadvantage of Speaking from a memory

A

Benefit: Helps the speaker to maintain eye contact with the audience.
Disadvantage:
1. The presentation will be flat and uninteresting, and even the most fascinating subject may suffer.
2. Speaking in a repetitive delivery style in a monotone or sing-song.
3. deliver your speech in a quick “machine-gun” style.
4. the difference in your delivery style will warn the audience that something is wrong
5. it will be incredibly difficult to find your place and keep going when you go absolutely blank during the presentation.

67
Q

This is the mechanism whereby a reader’s voice and body takes the words from a page and gives a meaning.

A

Oral Interpretation

68
Q

They offer life to stories that function as a medium for
text messages.

A

Oral interpreters

69
Q

It is a representation of the body and voice of a piece of
literature.

A

Oral Interpretation

70
Q

Types of Oral Interpretation

A

Dramatic Interpretation, Prose Interpretation, Poetry Interpretation, Programmed Oral Interpretation, Dramatic Duo Interpretation, and Interpreters’ Theater

71
Q

Material may be published or unpublished but may need to be taken from a play.

A

Dramatic Interpretation

72
Q

Generally the same rules as Drama, but with an emphasis on the plot of the first person. Selections may be either written or unpublished from a short story, essay, or novel.

A

Prose Interpretation

73
Q

Play and prose work is strictly prohibited. Material may be a single poem or poetry program (poetry collection), but it is more common since 8-minute poems are rare poetry programs.

A

Poetry Interpretation

74
Q

This event is to be a unified presentation consisting of at least two selections from different genres.

A

Programmed Oral Interpretation

75
Q

Two people make a choice between a drama, a prose and a system of poetry.

A

Dramatic Duo Interpretation

76
Q

This is characterized as the interpretation of literature by a group of oral readers who serve as a medium for an audience to express themselves.

A

Interpreters’ Theater

77
Q

Other term for Interpreters’ Theater

A

Readers’ Theater

78
Q

What is the production time limit for a Readers’ Theater

A

25 minutes

79
Q

What is the time limit for material setup and take-down in Readers’ Theater?

A

2 minutes

80
Q

What are the Two Major Categories of Oral Interpretation

A

Solo Interpretation and Group Interpretation

81
Q

What are those under Solo Interpretation?

A

Story Telling, Creative/Dramatic, Interpretive/ Interpretive Reading, Declamation, and Monologue

82
Q

An oral sharing of a personal or traditional story with an audience for entertainment or education purposes.

A

Story Telling

83
Q

One that uses subtle dramatization, gestures, and creative moments to present a story.

A

Creative/Dramatic

84
Q

The process of reading orally for an audience using
the elements of voice and diction to convey the meaning and mood of the literary piece.

A

Interpretive / Interpretive Reading

85
Q

Other terms for Interpretive / Interpretive Reading

A

dramatic reading, oral reading, or reading aloud

86
Q

A recitation of a memorized poem in which the presentation is characterized by intense emotions but free from histrionics.

A

Declamations

87
Q

An oral interpretative presentation of prose or poetry in which the speaker assumes the role of someone who is addressing an imaginary audience, expressing his innermost thoughts and feelings.

A

Monologue

88
Q

The performer speaks to another person who is not in the audience.

A

exterior monologue

89
Q

The performer speaks as if to himself or herself.

A

interior monologue

90
Q

What are those under Group Interpretation?

A

Reading Concert, Chamber Theater, Speech Choir, Solo and Chorus, and Responsive Reading

91
Q

Also known as Reader’s Theater. It is an oral reading activity, with speakers presenting literature in dramatic form.

A

Reading Concert

92
Q

This is a theatrical approach to narrative literature. Narration is included in the performance and can be performed by one or more actors.

A

Chamber Theater

93
Q

It is a technique of ensemble reading in which a group recites as in one in coordinated voices and related interpretation.

A

Speech Choir

94
Q

Speech Choir is also called?

A

choral reading, chronic interpretation, and vocal ensemble

95
Q

This is in which a soloist recites permitted some lines and then immediately followed the chorus reciting a refrain.

A

Solo and Chorus

96
Q

This is which a solo or chorus recites lines alternately.

A

Responsive Reading

Midterm Examination (10 decks)

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