projects in speech communication

Sampler

iv v

Teacher Reviewers

Linda L. Alderson, Director of Forensics and UIL Academic CoordinatorBoling High School (retired)Boling, Texas

Russell KirksceySpeech TeacherBlanco High SchoolBlanco, Texas

Anna J. Small Roseboro, NBCTCommunication Arts and Sciences DepartmentCalvin CollegeGrand Rapids, Michigan

Mary SchickSpeech and Debate Teacher/CoachMiami-Dade County Public SchoolsMiami, Florida

Stephen Douglas WillifordSpeech TeacherHarding AcademyMemphis, Tennessee

Cynthia WoodhouseLanguage Arts/Debate TeacherWest Senior High SchoolIowa City Community SchoolsIowa City, Iowa

UnitOne

UnitTwo

UnitThree

UnitFour

UnitFive

UnitSix

Projects in Speech CommunicationReview BoardOverview Communication Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Chapter 1 The Fundamentals of Communication . . . . . . . . . . . . . . . . 04

Chapter 2 Oral Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Chapter 3 Nonverbal Communication . . . . . . . . . . . . . . . . . . . . . . . . . 46

Chapter 4 Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Chapter 5 Influences on Communication . . . . . . . . . . . . . . . . . . . . . . 86

Interpersonal Communication . . . . . . . . . . . . . . . . . . . . . . . 110Chapter 6 Effective Interpersonal Communication Strategies . . . . 112

Chapter 7 Interpersonal Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Chapter 8 Solving Problems and Managing Conflict . . . . . . . . . . . . 152

Chapter 9 Interviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Group Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196Chapter 10 The Power of Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Chapter 11 Group Dynamics and Roles . . . . . . . . . . . . . . . . . . . . . . . . 214

Chapter 12 Group Discussions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Chapter 13 Parliamentary Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Public Speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274Chapter 14 Preparing to Speak . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Chapter 15 Researching Your Subject . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Chapter 16 Organizing Your Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Chapter 17 Preparing Supporting Materials . . . . . . . . . . . . . . . . . . . . . . 350

Chapter 18 Using Language Effectively . . . . . . . . . . . . . . . . . . . . . . . . 372

Chapter 19 Presenting Your Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Types of Presentations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420Chapter 20 The Speech to Inform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Chapter 21 The Speech to Persuade . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Chapter 22 Speeches for Special Occasions . . . . . . . . . . . . . . . . . . . . 478

Chapter 23 Competitive Speech Events . . . . . . . . . . . . . . . . . . . . . . . . 508

Mass Communications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540Chapter 24 Mass Communications in Society . . . . . . . . . . . . . . . . . . . . 542

Chapter 25 Technology in Everyday Life . . . . . . . . . . . . . . . . . . . . . . . . . 562

Review Board for Projects in Speech CommunicationProjects in Speech Communication has been developed with the guidance of an outstanding panel of expert teachers.

Standards Compliance of Projects in Speech CommunicationProjects in Speech Communication supports state standards as well as the K–12 Standards of Communication developed by the National Communication Association.

Senior Consultant

Diana B. Carlin, Ph.D.Department of Communication StudiesUniversity of Kansas

Professor Diana Carlin teaches a variety of courses on political debates, speechwriting, and women in politics. She is the author of secondary textbooks on debate and public speaking and is a former high school teacher and forensics coach.

Sampler Table of Contents

Student Edition Table of Contents . . . . . . . . . . . . . . . . . . . . . . .v–xix The Student Edition begins with the fundamental elements of communication and then

explores each of the main categories of communication. No other book covers group communication and mass communications as thoroughly. Exemplary speeches within chapters and at the end of the book provide an abundance of models of successful speaking.

Chapter Sampler—Selections from Unit 1, Chapter 3: Nonverbal Communication . . . . . . . . . . . . . 46–63 Chapter Opener Each chapter opens with an Essential Question and a brief description of

the learn-by-doing project the students will complete. Each chapter opener also includes a lively graphic and a Speak Up! activity to excite and energize students from the start. (See pages 46–47.)

Selections from the Chapter Core The main part of the chapter—where the core content is presented—provides the background for the project. (See pages 48–51.) When students have completed this part, they move on to sections focused on Preparing, Presenting, and Evaluating their projects. (See pages 57–59.) In addition, each chapter includes features that enrich the core content. Those in Chapter 3 are typical.

•Communication in a Diverse World presents communication in a global context. The Chapter 3 feature, “The Message in the Movement,” explores cultural differences in body language and social space (proxemics). (See page 56.)

•Communication Past and Present analyzes communication throughout history. The Chapter 3 feature, “Shake on It,” reviews the significance and evolution of the handshake and its cousin the “high five.” (See pages 60–61.)

Chapter Review Activities at the end of each chapter reinforce key ideas, encourage reflection and synthesis, provide real-world applications, and offer additional projects. (See pages 62–63.)

Unit Closer Sampler—Unit 1: Communication Basics . . . .108–109The unit closers offer more opportunities for active learning and for applying what students have learned in new ways. Each unit closer has four types of activities.

•Workplace Workout—a scenario requiring a decision from the world of work

•Gender Journey—a hands-on project exploring gender differences in communication

•Media Master—an activity centered on media and technology

•Own It!—an opportunity to think back through the unit and refine understandings

The pages in this sampler are

taken from the Student Edition

and the Teacher’s Wraparound

Edition of Projects in Speech

Communication to illustrate

the student projects and other

features in both editions that

make this brand-new program

effective and enjoyable .

Phone: (800) 831-4190Fax: (800) 543-2745

perfectionlearning.com

Projects in Speech Communication

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Teacher Reviewers







UnitOne

UnitTwo

UnitThree

UnitFour

UnitFive

UnitSix




























Senior Consultant



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Projects in Speech CommunicationContact your sales representative to request an examination copy.

http://www.perfectionlearning.com/salesreps.php

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ChaPTER 3 Nonverbal Communication . . . . . . . . . . . . . . . . . . . 46

EssEntial Question: how and what do people communicate without words?

Chapter Project: Silence, Please!

Types of Nonverbal Communication . . . . . . . . . . . . . . . . . . . . . 48

The Effects of Nonverbal Communication . . . . . . . . . . . . . . . . . 55

Feature: Communication in a Diverse World . . . . . . . . . . . . . 56 The Message in the Movement

Feature: Communication Past and Present . . . . . . . . . . . . . . . 60 Shake on It—From the “Right Hand of Friendship”

to the “High Five”

ChaPTER 4 Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

EssEntial Question: how does effective listening help people communicate meaningfully?

Chapter Project: Listen here

The Listening Process and Its Components . . . . . . . . . . . . . . . 66

Overcoming Barriers to Effective Listening . . . . . . . . . . . . . . . 72

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Sign Language Interpreter

academic Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Feature: Communication Past and Present . . . . . . . . . . . . . . . 82 The Gift of Listening—From Trumpets to Implants

Communication Basics

ChaPTER 1 The Fundamentals of Communication . . . . . . 04

EssEntial Question: What is communication? Chapter Project: Instant Replay

The Importance of Communication in Daily Life . . . . . . . . . . . . 06

Feature: Communication in a Diverse World . . . . . . . . . . . . 07 A World Without Language

Standards for Communication Decisions . . . . . . . . . . . . . . . . . 08

a Model of the Communication Process . . . . . . . . . . . . . . . . . 09

Expanding the Communication Model . . . . . . . . . . . . . . . . . . . 13

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . 14 Motivational Speaker

Refining the Definition of Communication . . . . . . . . . . . . . . . . 15

Feature: Communication Past and Present . . . . . . . . . . . . . . 20 Mass Communications—From Gutenberg to the Internet

ChaPTER 2 Oral Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

EssEntial Question: how can people use language to achieve effective oral communication?

Chapter Project: “Who’s on First?”

Identifying Characteristics of Oral Language . . . . . . . . . . . . . . 26

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . 29 Lawyer

analyzing Standards for Using Oral Language . . . . . . . . . . . . . 30

Making Communication Choices . . . . . . . . . . . . . . . . . . . . . . . 32

Feature: Communication Past and Present . . . . . . . . . . . . . . 42 Neanderthal Speech and Musical Sounds—From Neanderthals

to Modern Humans

UnitONE

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ChaPTER 3 Nonverbal Communication . . . . . . . . . . . . . . . . . . . 46

EssEntial Question: how and what do people communicate without words?


Types of Nonverbal Communication . . . . . . . . . . . . . . . . . . . . . 48

The Effects of Nonverbal Communication . . . . . . . . . . . . . . . . . 55

Feature: Communication in a Diverse World . . . . . . . . . . . . . 56 The Message in the Movement

Feature: Communication Past and Present . . . . . . . . . . . . . . . 60 Shake on It—From the “Right Hand of Friendship”

to the “High Five”

ChaPTER 4 Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

EssEntial Question: how does effective listening help people communicate meaningfully?

Chapter Project: Listen here

The Listening Process and Its Components . . . . . . . . . . . . . . . 66

Overcoming Barriers to Effective Listening . . . . . . . . . . . . . . . 72

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Sign Language Interpreter

academic Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Feature: Communication Past and Present . . . . . . . . . . . . . . . 82 The Gift of Listening—From Trumpets to Implants

Communication Basics

ChaPTER 1 The Fundamentals of Communication . . . . . . 04

EssEntial Question: What is communication? Chapter Project: Instant Replay

The Importance of Communication in Daily Life . . . . . . . . . . . . 06

Feature: Communication in a Diverse World . . . . . . . . . . . . 07 A World Without Language

Standards for Communication Decisions . . . . . . . . . . . . . . . . . 08

a Model of the Communication Process . . . . . . . . . . . . . . . . . 09

Expanding the Communication Model . . . . . . . . . . . . . . . . . . . 13

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . 14 Motivational Speaker

Refining the Definition of Communication . . . . . . . . . . . . . . . . 15

Feature: Communication Past and Present . . . . . . . . . . . . . . 20 Mass Communications—From Gutenberg to the Internet

ChaPTER 2 Oral Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

EssEntial Question: how can people use language to achieve effective oral communication?

Chapter Project: “Who’s on First?”

Identifying Characteristics of Oral Language . . . . . . . . . . . . . . 26

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . 29 Lawyer

analyzing Standards for Using Oral Language . . . . . . . . . . . . . 30

Making Communication Choices . . . . . . . . . . . . . . . . . . . . . . . 32

Feature: Communication Past and Present . . . . . . . . . . . . . . 42 Neanderthal Speech and Musical Sounds—From Neanderthals

to Modern Humans

UnitONE

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ChaPTER 7 Interpersonal Listening . . . . . . . . . . . . . . . . . . . . . . 136

EssEntial Question: how can skillful listening enhance interpersonal relationships?

Chapter Project: Lend Me Your Ear

Critical Listening in Interpersonal Relationships . . . . . . . . . . . 138

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . 141 Investigative Journalist

Empathic Listening in Interpersonal Relationships . . . . . . . . . 142

Reflective Listening in Interpersonal Relationships . . . . . . . . . 144

Feature: Communication Past and Present . . . . . . . . . . . . . . 148 The Listening Revolution—From Therapy Sessions

to Everyday Life

ChaPTER 8 Solving Problems and Managing Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

EssEntial Question: What communication strategies are effective for solving problems and managing conflict?

Chapter Project: Work It Out

Problem-Solving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Communication Strategies for Problem-Solving . . . . . . . . . . . 156

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . 161 Human Resources Manager

Managing Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Evaluating Interpersonal Communication . . . . . . . . . . . . . . . . 164

Feature: Communication Past and Present . . . . . . . . . . . . . 168 Problem-Solving—From Lao-tzu to Toyota

ChaPTER 5 Influences on Communication . . . . . . . . . . . . . . . 86

EssEntial Question: What influences your ability to communicate effectively?

Chapter Project: What Do You See?

Perception of Self and Others . . . . . . . . . . . . . . . . . . . . . . . . . 88

Other Influences on Communication . . . . . . . . . . . . . . . . . . . . 98

Social and Ethical Responsibilities of Communicators . . . . . . 100

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . 101 Mediator

Feature: Communication Past and Present . . . . . . . . . . . . . . 104 Stereotypes Through History—From Historical Times to Today

Interpersonal Communication

ChaPTER 6 Effective Interpersonal Communication Strategies . . . . . . . . . . . . . . . . . . 112

EssEntial Question: What strategies enhance interpersonal communication?

Chapter Project: Different People, Different Talk

Interpersonal Relationships . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Feature: Communication in a Diverse World . . . . . . . . . . . . 121 He Says, She Says: Gender and Body Language

applying Decision-Making Strategies in Everyday Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Feature: Communication Past and Present . . . . . . . . . . . . . . 132 Say Hey!—From Greetings Past to Greetings Present

UnitTWO

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ChaPTER 7 Interpersonal Listening . . . . . . . . . . . . . . . . . . . . . . 136

EssEntial Question: how can skillful listening enhance interpersonal relationships?

Chapter Project: Lend Me Your Ear

Critical Listening in Interpersonal Relationships . . . . . . . . . . . 138

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . 141 Investigative Journalist

Empathic Listening in Interpersonal Relationships . . . . . . . . . 142

Reflective Listening in Interpersonal Relationships . . . . . . . . . 144

Feature: Communication Past and Present . . . . . . . . . . . . . . 148 The Listening Revolution—From Therapy Sessions

to Everyday Life

ChaPTER 8 Solving Problems and Managing Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

EssEntial Question: What communication strategies are effective for solving problems and managing conflict?

Chapter Project: Work It Out

Problem-Solving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Communication Strategies for Problem-Solving . . . . . . . . . . . 156

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . 161 Human Resources Manager

Managing Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Evaluating Interpersonal Communication . . . . . . . . . . . . . . . . 164

Feature: Communication Past and Present . . . . . . . . . . . . . 168 Problem-Solving—From Lao-tzu to Toyota

ChaPTER 5 Influences on Communication . . . . . . . . . . . . . . . 86

EssEntial Question: What influences your ability to communicate effectively?

Chapter Project: What Do You See?

Perception of Self and Others . . . . . . . . . . . . . . . . . . . . . . . . . 88

Other Influences on Communication . . . . . . . . . . . . . . . . . . . . 98

Social and Ethical Responsibilities of Communicators . . . . . . 100

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . . 101 Mediator

Feature: Communication Past and Present . . . . . . . . . . . . . . 104 Stereotypes Through History—From Historical Times to Today

Interpersonal Communication

ChaPTER 6 Effective Interpersonal Communication Strategies . . . . . . . . . . . . . . . . . . 112

EssEntial Question: What strategies enhance interpersonal communication?

Chapter Project: Different People, Different Talk

Interpersonal Relationships . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Feature: Communication in a Diverse World . . . . . . . . . . . . 121 He Says, She Says: Gender and Body Language

applying Decision-Making Strategies in Everyday Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Feature: Communication Past and Present . . . . . . . . . . . . . . 132 Say Hey!—From Greetings Past to Greetings Present

UnitTWO

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ChaPTER 11 Group Dynamics and Roles . . . . . . . . . . . . . . . . . 214

EssEntial Question: how do the roles of group members influence a group’s effectiveness?

Chapter Project: The Group Roles On

Group Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Member Roles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Feature: Communication in a Diverse World . . . . . . . . . . . 221 In a Japanese Classroom

Evaluating Group Performance . . . . . . . . . . . . . . . . . . . . . . 222

Feature: Communication Past and Present . . . . . . . . . . . . 226 Group Dynamics—From the 20th Century to

the High-Tech 21st Century

ChaPTER 12 Group Discussions . . . . . . . . . . . . . . . . . . . . . . . . . . 230

EssEntial Question: What are the elements of effective group discussion?

Chapter Project: Got a Problem? here’s the Solution.

Planning for Group Discussion . . . . . . . . . . . . . . . . . . . . . . 232

Leading a Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 239 Group Facilitator

Participating in Group Discussions . . . . . . . . . . . . . . . . . . . 240

Feature: Communication Past and Present . . . . . . . . . . . . 250 Leadership Styles—From the Transactional

to the Transformational

ChaPTER 9 Interviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

EssEntial Question: how can you make the most of interviews?

Chapter Project: “So Tell Me about Yourself . . .”

Interview Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

The Job or School Interview . . . . . . . . . . . . . . . . . . . . . . . . . 175

Feature: Communication in a Diverse World . . . . . . . . . . . 180 Affirmative Action at the University of Michigan

Conducting an Interview . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Feature: Communication Past and Present . . . . . . . . . . . . . 190 Equal Opportunity—From Oppression to Inclusion

Group Communication

ChaPTER 10 The Power of Groups . . . . . . . . . . . . . . . . . . . . . . 198

EssEntial Question: What purposes and functions of groups make them so important?

Chapter Project: Power to the Group!

Groups in a Democratic Society . . . . . . . . . . . . . . . . . . . . . . 200

Types and Functions of Groups . . . . . . . . . . . . . . . . . . . . . . . 203

Feature: Communication in a Diverse World . . . . . . . . . . . . 206 Our Town in Compton

Feature: Communication Past and Present . . . . . . . . . . . . . 210 Individuals, Groups, and Government—From the Voice

of the Monarch to the Voice of the People

UnitTHREE

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ChaPTER 11 Group Dynamics and Roles . . . . . . . . . . . . . . . . . 214

EssEntial Question: how do the roles of group members influence a group’s effectiveness?

Chapter Project: The Group Roles On

Group Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Member Roles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Feature: Communication in a Diverse World . . . . . . . . . . . 221 In a Japanese Classroom

Evaluating Group Performance . . . . . . . . . . . . . . . . . . . . . . 222

Feature: Communication Past and Present . . . . . . . . . . . . 226 Group Dynamics—From the 20th Century to

the High-Tech 21st Century

ChaPTER 12 Group Discussions . . . . . . . . . . . . . . . . . . . . . . . . . . 230

EssEntial Question: What are the elements of effective group discussion?

Chapter Project: Got a Problem? here’s the Solution.

Planning for Group Discussion . . . . . . . . . . . . . . . . . . . . . . 232

Leading a Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 239 Group Facilitator

Participating in Group Discussions . . . . . . . . . . . . . . . . . . . 240

Feature: Communication Past and Present . . . . . . . . . . . . 250 Leadership Styles—From the Transactional

to the Transformational

ChaPTER 9 Interviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

EssEntial Question: how can you make the most of interviews?

Chapter Project: “So Tell Me about Yourself . . .”

Interview Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

The Job or School Interview . . . . . . . . . . . . . . . . . . . . . . . . . 175

Feature: Communication in a Diverse World . . . . . . . . . . . 180 Affirmative Action at the University of Michigan

Conducting an Interview . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Feature: Communication Past and Present . . . . . . . . . . . . . 190 Equal Opportunity—From Oppression to Inclusion

Group Communication

ChaPTER 10 The Power of Groups . . . . . . . . . . . . . . . . . . . . . . 198

EssEntial Question: What purposes and functions of groups make them so important?

Chapter Project: Power to the Group!

Groups in a Democratic Society . . . . . . . . . . . . . . . . . . . . . . 200

Types and Functions of Groups . . . . . . . . . . . . . . . . . . . . . . . 203

Feature: Communication in a Diverse World . . . . . . . . . . . . 206 Our Town in Compton

Feature: Communication Past and Present . . . . . . . . . . . . . 210 Individuals, Groups, and Government—From the Voice

of the Monarch to the Voice of the People

UnitTHREE



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ChaPTER 15 Researching Your Subject . . . . . . . . . . . . . . . . . . 296

EssEntial Question: how can I find and use the information necessary for my speech?

Chapter Project: Says Who?

The Need for Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Primary and Secondary Sources . . . . . . . . . . . . . . . . . . . . . 300

Research Efficiency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Using the Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 307 Digital Librarian

Print Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Supporting Your Thesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Feature: Communication Past and Present . . . . . . . . . . . . 316 Public Libraries—From the Library Company of

Philadelphia to Your Local Public Library

ChaPTER 16 Organizing Your Speech . . . . . . . . . . . . . . . . . . . . 320

EssEntial Question: how should a speech be organized?

Chapter Project: Map It!

The Importance of Organization . . . . . . . . . . . . . . . . . . . . . . 322

The Introduction of the Speech . . . . . . . . . . . . . . . . . . . . . . 322

Feature: Communication in a Diverse World . . . . . . . . . . . 328 Culture and Public Speaking

The Body of the Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

The Conclusion of the Speech . . . . . . . . . . . . . . . . . . . . . . . 338

analyzing Speech Form: Organizational Principles . . . . . . . 339

Feature: Communication Past and Present . . . . . . . . . . . . 346 Getting Organized—From Cicero to Dave Barry

ChaPTER 13 Parliamentary Procedure . . . . . . . . . . . . . . . . . . . 254

EssEntial Question: how does parliamentary procedure work?

Chapter Project: You’re Out of Order!

Rules of Order and Parliamentary Procedure . . . . . . . . . . . 256

Parliamentary Roles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Feature: Communication in a Diverse World . . . . . . . . . . . 260 The Power of the Talking Stick

a Parliamentary Meeting . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Feature: Communication Past and Present . . . . . . . . . . . . 268 Setting the Record Straight—From Ancient Egyptian

Scribes to Microphones and Computer Chips

Public Speaking

ChaPTER 14 Preparing to Speak . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

EssEntial Question: What can you do to prepare for a speech?

Chapter Project: Get to the Point!

analyzing audience, Purpose, and Occasion . . . . . . . . . . . 278

Choosing Your Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Limiting Your Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Limiting Your Purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

analyzing a Speech to Understand Purpose . . . . . . . . . . . . 285

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 289 Speechwriter

Feature: Communication Past and Present . . . . . . . . . . . . 292 Finding a Public Voice—From “True Womanhood”

at Home to the Public Spotlight

UnitFOUR

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ChaPTER 15 Researching Your Subject . . . . . . . . . . . . . . . . . . 296

EssEntial Question: how can I find and use the information necessary for my speech?

Chapter Project: Says Who?

The Need for Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Primary and Secondary Sources . . . . . . . . . . . . . . . . . . . . . 300

Research Efficiency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Using the Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 307 Digital Librarian

Print Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Supporting Your Thesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Feature: Communication Past and Present . . . . . . . . . . . . 316 Public Libraries—From the Library Company of

Philadelphia to Your Local Public Library

ChaPTER 16 Organizing Your Speech . . . . . . . . . . . . . . . . . . . . 320

EssEntial Question: how should a speech be organized?

Chapter Project: Map It!

The Importance of Organization . . . . . . . . . . . . . . . . . . . . . . 322

The Introduction of the Speech . . . . . . . . . . . . . . . . . . . . . . 322

Feature: Communication in a Diverse World . . . . . . . . . . . 328 Culture and Public Speaking

The Body of the Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

The Conclusion of the Speech . . . . . . . . . . . . . . . . . . . . . . . 338

analyzing Speech Form: Organizational Principles . . . . . . . 339

Feature: Communication Past and Present . . . . . . . . . . . . 346 Getting Organized—From Cicero to Dave Barry

ChaPTER 13 Parliamentary Procedure . . . . . . . . . . . . . . . . . . . 254

EssEntial Question: how does parliamentary procedure work?

Chapter Project: You’re Out of Order!

Rules of Order and Parliamentary Procedure . . . . . . . . . . . 256

Parliamentary Roles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Feature: Communication in a Diverse World . . . . . . . . . . . 260 The Power of the Talking Stick

a Parliamentary Meeting . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Feature: Communication Past and Present . . . . . . . . . . . . 268 Setting the Record Straight—From Ancient Egyptian

Scribes to Microphones and Computer Chips

Public Speaking

ChaPTER 14 Preparing to Speak . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

EssEntial Question: What can you do to prepare for a speech?

Chapter Project: Get to the Point!

analyzing audience, Purpose, and Occasion . . . . . . . . . . . 278

Choosing Your Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Limiting Your Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Limiting Your Purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

analyzing a Speech to Understand Purpose . . . . . . . . . . . . 285

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 289 Speechwriter

Feature: Communication Past and Present . . . . . . . . . . . . 292 Finding a Public Voice—From “True Womanhood”

at Home to the Public Spotlight

UnitFOUR



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ChaPTER 19 Presenting Your Speech . . . . . . . . . . . . . . . . . . . . 394

EssEntial Question: What strategies can you use to present your speech effectively and powerfully?

Chapter Project: Check It Out

Qualities of Effective Deliveries . . . . . . . . . . . . . . . . . . . . . . 396

Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Using Supporting Tools appropriately . . . . . . . . . . . . . . . . . 403

Interacting with Your audience . . . . . . . . . . . . . . . . . . . . . . . 404

Building Self-Confidence . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 408 Pharmaceutical Sales Representative

Evaluating Your Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Feature: Communication Past and Present . . . . . . . . . . . . 414 Inspiring Deliveries—From Yesteryear to Modern Day

Types of Presentations

ChaPTER 20 The Speech to Inform . . . . . . . . . . . . . . . . . . . . . . . 422

EssEntial Question: how can you make speeches to inform as effective as possible?

Chapter Project: here’s how

Types of Informative Speeches . . . . . . . . . . . . . . . . . . . . . . . 424

Steps for Preparing an Expository Speech . . . . . . . . . . . . . 425

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 428 Teacher

Steps for Preparing a Process Speech . . . . . . . . . . . . . . . . 433

Presenting Your Informative Speech . . . . . . . . . . . . . . . . . . 436

analyzing Speeches to Inform . . . . . . . . . . . . . . . . . . . . . . . 438

Evaluating Informative Speeches . . . . . . . . . . . . . . . . . . . . . 441

Feature: Communication Past and Present . . . . . . . . . . . . 446 State of the Union Address—From George Washington

to George W. Bush

ChaPTER 17 Preparing Supporting Materials . . . . . . . . . . . . . 350

EssEntial Question: how are supporting materials used to enhance a speech?

Chapter Project: Worth a Thousand Words

Speech Delivery Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Preparing Notes for Extemporaneous Delivery . . . . . . . . . . . 355

Producing Standard Visual aids . . . . . . . . . . . . . . . . . . . . . . 357

Using Presentation Software . . . . . . . . . . . . . . . . . . . . . . . . 359

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 364 Graphic Designer

Feature: Communication Past and Present. . . . . . . . . . . . . 368 A Visual History of Presentation Equipment—From

“Back in the Day” to Our Day

ChaPTER 18 Using Language Effectively . . . . . . . . . . . . . . . . . 372

EssEntial Question: how do speakers use language to enhance a message?

Chapter Project: The One That Got away

The Right Words at the Right Time . . . . . . . . . . . . . . . . . . . . 374

Expressive Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Language Dos and Don’ts . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Pulling It all Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 387 News Writer

Feature: Communication Past and Present. . . . . . . . . . . . . 390 Memorable Commencement Speeches—From

the 1800s to the 20th Century and Beyond

UnitFIVE

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xvii

xv

ChaPTER 19 Presenting Your Speech . . . . . . . . . . . . . . . . . . . . 394

EssEntial Question: What strategies can you use to present your speech effectively and powerfully?

Chapter Project: Check It Out

Qualities of Effective Deliveries . . . . . . . . . . . . . . . . . . . . . . 396

Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Using Supporting Tools appropriately . . . . . . . . . . . . . . . . . 403

Interacting with Your audience . . . . . . . . . . . . . . . . . . . . . . . 404

Building Self-Confidence . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 408 Pharmaceutical Sales Representative

Evaluating Your Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Feature: Communication Past and Present . . . . . . . . . . . . 414 Inspiring Deliveries—From Yesteryear to Modern Day

Types of Presentations

ChaPTER 20 The Speech to Inform . . . . . . . . . . . . . . . . . . . . . . . 422

EssEntial Question: how can you make speeches to inform as effective as possible?

Chapter Project: here’s how

Types of Informative Speeches . . . . . . . . . . . . . . . . . . . . . . . 424

Steps for Preparing an Expository Speech . . . . . . . . . . . . . 425

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 428 Teacher

Steps for Preparing a Process Speech . . . . . . . . . . . . . . . . 433

Presenting Your Informative Speech . . . . . . . . . . . . . . . . . . 436

analyzing Speeches to Inform . . . . . . . . . . . . . . . . . . . . . . . 438

Evaluating Informative Speeches . . . . . . . . . . . . . . . . . . . . . 441

Feature: Communication Past and Present . . . . . . . . . . . . 446 State of the Union Address—From George Washington

to George W. Bush

ChaPTER 17 Preparing Supporting Materials . . . . . . . . . . . . . 350

EssEntial Question: how are supporting materials used to enhance a speech?

Chapter Project: Worth a Thousand Words

Speech Delivery Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Preparing Notes for Extemporaneous Delivery . . . . . . . . . . . 355

Producing Standard Visual aids . . . . . . . . . . . . . . . . . . . . . . 357

Using Presentation Software . . . . . . . . . . . . . . . . . . . . . . . . 359

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 364 Graphic Designer

Feature: Communication Past and Present. . . . . . . . . . . . . 368 A Visual History of Presentation Equipment—From

“Back in the Day” to Our Day

ChaPTER 18 Using Language Effectively . . . . . . . . . . . . . . . . . 372

EssEntial Question: how do speakers use language to enhance a message?

Chapter Project: The One That Got away

The Right Words at the Right Time . . . . . . . . . . . . . . . . . . . . 374

Expressive Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Language Dos and Don’ts . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Pulling It all Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 387 News Writer

Feature: Communication Past and Present. . . . . . . . . . . . . 390 Memorable Commencement Speeches—From

the 1800s to the 20th Century and Beyond

UnitFIVE

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xvii

ChaPTER 23 Competitive Speech Events . . . . . . . . . . . . . . . . . 508

EssEntial Question: What can you learn from preparing for competitive speech events even if you never compete?

Chapter Project: Bring It to Life

Competitive Speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

analyzing an Extemporaneous Speech . . . . . . . . . . . . . . . . . 514

Feature: Communication in a Diverse World . . . . . . . . . . . 517 “Chinese Bridge” Speech Competition

Competitive Impromptu Speaking . . . . . . . . . . . . . . . . . . . . . 518

Competitive Dramatic Events . . . . . . . . . . . . . . . . . . . . . . . . 520

Competitive Debate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Feature: Communication Past and Present. . . . . . . . . . . . . 534 The Story of Debate—From Disputation to Debate Camp

Mass Communications

ChaPTER 24 Mass Communications in Society . . . . . . . . . . . 542

EssEntial Question: What are mass communications?

Chapter Project: Media Crystal Ball

Mass Communications and Mass Media . . . . . . . . . . . . . . . 544

a Model of the Mass Communications Process . . . . . . . . . . 545

Purposes of Mass Communications . . . . . . . . . . . . . . . . . . . 547

Potential Drawbacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Feature: Communication in a Diverse World . . . . . . . . . . . 551 Freedom of the Press

Ethical Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Feature: Communication Past and Present . . . . . . . . . . . . 558 Getting the News Out—From Town Criers

to Satellite Transmissions

ChaPTER 21 The Speech to Persuade . . . . . . . . . . . . . . . . . . . . 450

EssEntial Question: how can you make speeches to persuade as effective as possible?

Chapter Project: The Triple Play

Persuasion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452

Organizing the Persuasive Speech . . . . . . . . . . . . . . . . . . . 463

analyzing the Characteristics of Persuasive Speech . . . . . . 464

Presenting Your Persuasive Speech . . . . . . . . . . . . . . . . . . 467

Evaluating Persuasive Speeches . . . . . . . . . . . . . . . . . . . . . 468

Feature: Communication in a Diverse World . . . . . . . . . . . 470 Global Persuasion

Feature: Communication Past and Present . . . . . . . . . . . . 474 The Art of Persuasion—From Aristotle to Advertising

ChaPTER 22 Speeches for Special Occasions . . . . . . . . . . . . 478

EssEntial Question: how do speeches for special occasions differ in content and organization?

Chapter Project: and the Winner Is . . .

Understanding Special Occasion Speeches . . . . . . . . . . . . 480

The Graduation Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

The Speech of Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . 484

The Presentation Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

The acceptance Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

The Commemorative Speech . . . . . . . . . . . . . . . . . . . . . . . . 492

The after-Dinner Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Presenting Your Special Occasion Speech . . . . . . . . . . . . . 498

Feature: Communication in a Diverse World . . . . . . . . . . . 500 Know Your Audience

Feature: Communication Past and Present. . . . . . . . . . . . . 504 Praising the Dead—From Ancient Greece to John Cleese

UnitSIX

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xvii

ChaPTER 23 Competitive Speech Events . . . . . . . . . . . . . . . . . 508

EssEntial Question: What can you learn from preparing for competitive speech events even if you never compete?

Chapter Project: Bring It to Life

Competitive Speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

analyzing an Extemporaneous Speech . . . . . . . . . . . . . . . . . 514

Feature: Communication in a Diverse World . . . . . . . . . . . 517 “Chinese Bridge” Speech Competition

Competitive Impromptu Speaking . . . . . . . . . . . . . . . . . . . . . 518

Competitive Dramatic Events . . . . . . . . . . . . . . . . . . . . . . . . 520

Competitive Debate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Feature: Communication Past and Present. . . . . . . . . . . . . 534 The Story of Debate—From Disputation to Debate Camp

Mass Communications

ChaPTER 24 Mass Communications in Society . . . . . . . . . . . 542

EssEntial Question: What are mass communications?

Chapter Project: Media Crystal Ball

Mass Communications and Mass Media . . . . . . . . . . . . . . . 544

a Model of the Mass Communications Process . . . . . . . . . . 545

Purposes of Mass Communications . . . . . . . . . . . . . . . . . . . 547

Potential Drawbacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Feature: Communication in a Diverse World . . . . . . . . . . . 551 Freedom of the Press

Ethical Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Feature: Communication Past and Present . . . . . . . . . . . . 558 Getting the News Out—From Town Criers

to Satellite Transmissions

ChaPTER 21 The Speech to Persuade . . . . . . . . . . . . . . . . . . . . 450

EssEntial Question: how can you make speeches to persuade as effective as possible?

Chapter Project: The Triple Play

Persuasion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452

Organizing the Persuasive Speech . . . . . . . . . . . . . . . . . . . 463

analyzing the Characteristics of Persuasive Speech . . . . . . 464

Presenting Your Persuasive Speech . . . . . . . . . . . . . . . . . . 467

Evaluating Persuasive Speeches . . . . . . . . . . . . . . . . . . . . . 468

Feature: Communication in a Diverse World . . . . . . . . . . . 470 Global Persuasion

Feature: Communication Past and Present . . . . . . . . . . . . 474 The Art of Persuasion—From Aristotle to Advertising

ChaPTER 22 Speeches for Special Occasions . . . . . . . . . . . . 478

EssEntial Question: how do speeches for special occasions differ in content and organization?

Chapter Project: and the Winner Is . . .

Understanding Special Occasion Speeches . . . . . . . . . . . . 480

The Graduation Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

The Speech of Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . 484

The Presentation Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

The acceptance Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

The Commemorative Speech . . . . . . . . . . . . . . . . . . . . . . . . 492

The after-Dinner Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Presenting Your Special Occasion Speech . . . . . . . . . . . . . 498

Feature: Communication in a Diverse World . . . . . . . . . . . 500 Know Your Audience

Feature: Communication Past and Present. . . . . . . . . . . . . 504 Praising the Dead—From Ancient Greece to John Cleese

UnitSIX

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xviii xix

ChaPTER 25 Technology in Everyday Life . . . . . . . . . . . . . . . . . 562

EssEntial Question: how does technology affect the way people communicate?

Chapter Project: Technology Tales

Technology’s Impact on Communication . . . . . . . . . . . . . . . 564

Technology’s Impact on Democracy . . . . . . . . . . . . . . . . . . . 570

Forms of Mass Technology . . . . . . . . . . . . . . . . . . . . . . . . . . 572

Director’s Cut: Creating Video Presentations . . . . . . 576

Forms of Individual Technology . . . . . . . . . . . . . . . . . . . . . . . 578

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 579 Network Systems Analyst

The Positive and Negative Impact of Technology . . . . . . . . . 580

Feature: Communication Past and Present . . . . . . . . . . . . 586 Letter Writing—From Pen and Ink to E-mail

Speeches, Commentary, and Humor

1 abraham Lincoln: The Gettysburg Address . . . . . . . . . . . . . 592

2 Mary Louise Gilman: Courtroom Bloopers . . . . . . . . . . . . . . 593

3 helen Keller: How to Help the Blind . . . . . . . . . . . . . . . . . . 594

4 Plato: Is a Just Man Useful? . . . . . . . . . . . . . . . . . . . . . . . . 595

5 Winston Churchill: We Shall Fight on the Beaches . . . . . . . 597

6 henrik Ibsen: A Doll’s House . . . . . . . . . . . . . . . . . . . . . . . . 598

7 Deborah Tannen: I Heard What You Didn’t Say . . . . . . . . . . 599

8 Margaret Chase Smith: In Defense of Dissent . . . . . . . . . . 600

9 Rachel N.: My Grandmother, Shizue Kobayashi . . . . . . . . . 601

10 Cesar Chavez: Recognizing the Power of a Group . . . . . . . 602

11 English College Students: Organizing a Group . . . . . . . . . . 603

12 Daniel Goleman: Humor and Problem-Solving . . . . . . . . . . 605

13 Rachel Donadio: Revising Robert’s Rules . . . . . . . . . . . . . . 606

14 Ray Suarez: Writing Speeches for Presidents . . . . . . . . . . . 607

15 Nicholas Carr: Is Google Making Us Stupid? . . . . . . . . . . . 608

16 Sojourner Truth: Ain’t I a Woman? . . . . . . . . . . . . . . . . . . . . 609

17 Michael hyatt: What to Do When Technology Fails . . . . . . 610

18 Richard Lederer: Crazy English . . . . . . . . . . . . . . . . . . . . . . 611

19 Taylor Branch: Presenting “I Have a Dream” . . . . . . . . . . . . 612

20 Ralph Linton: One Hundred Percent American . . . . . . . . . . 613

21 Carmen hernandez: In Favor of a Skate Park . . . . . . . . . . . 614

22 Sara Martinez Tucker: A Commencement Address . . . . . . . 615

23 Lindsey Morgan: Pirate Myths and Realities . . . . . . . . . . . . 616

24 Condoleezza Rice: My Grandfather and Education . . . . . . . 619

25 Sandra Tsing Loh: Be Plus Like . . . . . . . . . . . . . . . . . . . . . . 620

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

CommunicationSOURCEBOOk

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ChaPTER 25 Technology in Everyday Life . . . . . . . . . . . . . . . . . 562

EssEntial Question: how does technology affect the way people communicate?

Chapter Project: Technology Tales

Technology’s Impact on Communication . . . . . . . . . . . . . . . 564

Technology’s Impact on Democracy . . . . . . . . . . . . . . . . . . . 570

Forms of Mass Technology . . . . . . . . . . . . . . . . . . . . . . . . . . 572

Director’s Cut: Creating Video Presentations . . . . . . 576

Forms of Individual Technology . . . . . . . . . . . . . . . . . . . . . . . 578

Feature: Is This Job for Me? . . . . . . . . . . . . . . . . . . . . . . . . 579 Network Systems Analyst

The Positive and Negative Impact of Technology . . . . . . . . . 580

Feature: Communication Past and Present . . . . . . . . . . . . 586 Letter Writing—From Pen and Ink to E-mail

Speeches, Commentary, and Humor

1 abraham Lincoln: The Gettysburg Address . . . . . . . . . . . . . 592

2 Mary Louise Gilman: Courtroom Bloopers . . . . . . . . . . . . . . 593

3 helen Keller: How to Help the Blind . . . . . . . . . . . . . . . . . . 594

4 Plato: Is a Just Man Useful? . . . . . . . . . . . . . . . . . . . . . . . . 595

5 Winston Churchill: We Shall Fight on the Beaches . . . . . . . 597

6 henrik Ibsen: A Doll’s House . . . . . . . . . . . . . . . . . . . . . . . . 598

7 Deborah Tannen: I Heard What You Didn’t Say . . . . . . . . . . 599

8 Margaret Chase Smith: In Defense of Dissent . . . . . . . . . . 600

9 Rachel N.: My Grandmother, Shizue Kobayashi . . . . . . . . . 601

10 Cesar Chavez: Recognizing the Power of a Group . . . . . . . 602

11 English College Students: Organizing a Group . . . . . . . . . . 603

12 Daniel Goleman: Humor and Problem-Solving . . . . . . . . . . 605

13 Rachel Donadio: Revising Robert’s Rules . . . . . . . . . . . . . . 606

14 Ray Suarez: Writing Speeches for Presidents . . . . . . . . . . . 607

15 Nicholas Carr: Is Google Making Us Stupid? . . . . . . . . . . . 608

16 Sojourner Truth: Ain’t I a Woman? . . . . . . . . . . . . . . . . . . . . 609

17 Michael hyatt: What to Do When Technology Fails . . . . . . 610

18 Richard Lederer: Crazy English . . . . . . . . . . . . . . . . . . . . . . 611

19 Taylor Branch: Presenting “I Have a Dream” . . . . . . . . . . . . 612

20 Ralph Linton: One Hundred Percent American . . . . . . . . . . 613

21 Carmen hernandez: In Favor of a Skate Park . . . . . . . . . . . 614

22 Sara Martinez Tucker: A Commencement Address . . . . . . . 615

23 Lindsey Morgan: Pirate Myths and Realities . . . . . . . . . . . . 616

24 Condoleezza Rice: My Grandfather and Education . . . . . . . 619

25 Sandra Tsing Loh: Be Plus Like . . . . . . . . . . . . . . . . . . . . . . 620

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

CommunicationSOURCEBOOk



n imp

46 Unit One Communication Basics

Pacing for a Year’s StudyDay 1 pp. 46-52

Day 2 pp. 53-56

Day 3 p. 57

Day 4 pp. 58-59

Day 5 pp. 60-63

NOTE: Pacing for a semester’s study appears on p. 2.

Critical Thinking Have students work in groups to identify contemporary forms of nonverbal, non-electronic communication. Do the following in front of the class:

Interpret Strike an impatient pose with your hands on your hips. Tap one foot. Ask students the meaning of the pose.

Analyze Change your position so that you are slouching against something. Have students discuss how your change in posture changes your nonverbal message.

Unit 1 Communication Basics46

3Ch

ap

ter

Nonverbal Communication

EssENtial QuestionHow and what do people communicate without words?


Have you ever been more pleased—or more hurt—by the look on someone’s face than by any words spoken? This project will help you understand how expressive wordless communication can be.

With a partner, you will present a two-minute conversation in which two people communicate without using words. Your exchange can be friendly or hostile, funny or tragic. Use your imagination. Classmates will take note of your body language, facial expression, gestures, and movements to evaluate how well you complete this activity. Refer to the following CAPS guidelines as you work to meet this challenge.

The rubric on page 59 shows the traits on which your presentation will be evaluated.

Concept nonverbal communication can be as effective as the spoken word

Audience partner, classmates, and teacher

Purpose to practice effective nonverbal communication

S ituation a two-minute wordless “conversation”

46

Key Vocabularynonverbal communication anything people communicate beyond the literal meaning of words

body language gestures, eye contact, posture, facial expression, and proxemics as conveyors of feeling

multi-channeled conducted through both verbal and nonverbal means

emphatic gestures movements of the limbs, body, or head that allow a speaker to emphasize spoken words

descriptive gestures movements of the limbs, body, or head that help listeners visualize spoken words

posture how you hold your body

stance how you distribute the weight of your body on your feet

proxemics the use of space

communication imperative the idea that you are always communicating something, whether you do something or not

mannerism a distinctive behavior

credibility worthiness of belief

Speak Up!Tell students to avoid using sarcasm as it undermines the meaning of the words. Note that body language is so tied to meaning that it can be difficult to say one thing in body language while making an opposite statement in words.

Responding to the CaptionDiscuss with students their interpretations of the nonverbal clues represented in the photograph. Students will probably suggest various gestures such as nods, winks, hand signals, and so on.

Evaluate Ask students which posture communicated more strength and why. Students should recognize that the firm, active stance both demonstrates and communicates strength.

Apply Ask students to give specific examples of when they would use an emphatic gesture and when they would use a descriptive gesture. Have them demonstrate each.

National Communication Association StandardsChapter 3 meets the following standards:

1-3, 1-11, 3-6, 4-7, 4-9, 4-18, 5-2, 8-14, 9-8, 9-9, 10-16, 14-7, 14-8, 14-14

Chapter 3 Nonverbal Communication 47

47

Speak Up!Your voice can say one thing while your body says something completely different.

Say the sentences at the left while your body indicates the thoughts at the right.

Your Voice Says While Your Body Says

Yes, Mother, I’d love to clean my room. Cleaning my room is the last thing I want to do.

I don’t care which movie we see. Nobody ever does what I want.

Yeah. I’ll go rock climbing with you. Man! Rock climbing terrifies me.

KEy VoCabulary

nonverbal communicationbody languagemulti-channeledemphatic gesturesdescriptive gesturesposture

stanceproxemicscommunication imperativemannerismcredibility

Chapter 3 Nonverbal Communication

Sign language is a highly developed form of nonverbal communication. List some of the gestures you use to express information without words.

Chapter 3Nonverbal Communication

Nonverbal communication is characterized by facial expressions, eye contact, gestures, posture and stance, movement, and appearance. It can enrich verbal communication or take the place of words entirely. Volume, rate, and pitch are also considered nonverbal indicators, but they will not be covered until Chapter 19.


Ask students to discuss ways they communicate without words. Have volunteers demonstrate a variety of widely understood facial expressions, gestures, and movements, and ask students to translate them into words.


Play a clip of a classic silent movie and ask students to note and discuss the nonverbal messages. Talk about the effects of nonverbal communication such as mannerisms and how speakers convey credibility.

CAPSPoint out to students that live conversations are easier to decode accurately than phone conversations, and each of those are easier to decode than email. Explain that nonverbal communication supports, limits, and annotates a speaker’s message.

Objectives • Interprettypesofnonverbal

communication, including facial expressions, eye contact, gestures, posture, movement, and appearance.

• Analyzehowproxemicsareaffectedby culture, gender, and work or social contexts.

• Analyzetheeffectsofnonverbalcommunication, such as mannerisms, and how a speaker conveys credibility.

’

n imp


Pacing for a Year’s StudyDay 1 pp. 46-52

Day 2 pp. 53-56

Day 3 p. 57

Day 4 pp. 58-59

Day 5 pp. 60-63

NOTE: Pacing for a semester’s study appears on p. 2.

Critical Thinking Have students work in groups to identify contemporary forms of nonverbal, non-electronic communication. Do the following in front of the class:

Interpret Strike an impatient pose with your hands on your hips. Tap one foot. Ask students the meaning of the pose.

Analyze Change your position so that you are slouching against something. Have students discuss how your change in posture changes your nonverbal message.


3Ch

ap

ter

Nonverbal Communication



Have you ever been more pleased—or more hurt—by the look on someone’s face than by any words spoken? This project will help you understand how expressive wordless communication can be.

With a partner, you will present a two-minute conversation in which two people communicate without using words. Your exchange can be friendly or hostile, funny or tragic. Use your imagination. Classmates will take note of your body language, facial expression, gestures, and movements to evaluate how well you complete this activity. Refer to the following CAPS guidelines as you work to meet this challenge.

The rubric on page 59 shows the traits on which your presentation will be evaluated.

Concept nonverbal communication can be as effective as the spoken word

Audience partner, classmates, and teacher

Purpose to practice effective nonverbal communication

S ituation a two-minute wordless “conversation”

46

Key Vocabularynonverbal communication anything people communicate beyond the literal meaning of words

body language gestures, eye contact, posture, facial expression, and proxemics as conveyors of feeling

multi-channeled conducted through both verbal and nonverbal means

emphatic gestures movements of the limbs, body, or head that allow a speaker to emphasize spoken words

descriptive gestures movements of the limbs, body, or head that help listeners visualize spoken words

posture how you hold your body

stance how you distribute the weight of your body on your feet

proxemics the use of space

communication imperative the idea that you are always communicating something, whether you do something or not

mannerism a distinctive behavior

credibility worthiness of belief

Speak Up!Tell students to avoid using sarcasm as it undermines the meaning of the words. Note that body language is so tied to meaning that it can be difficult to say one thing in body language while making an opposite statement in words.

Responding to the CaptionDiscuss with students their interpretations of the nonverbal clues represented in the photograph. Students will probably suggest various gestures such as nods, winks, hand signals, and so on.

Evaluate Ask students which posture communicated more strength and why. Students should recognize that the firm, active stance both demonstrates and communicates strength.

Apply Ask students to give specific examples of when they would use an emphatic gesture and when they would use a descriptive gesture. Have them demonstrate each.

National Communication Association StandardsChapter 3 meets the following standards:

1-3, 1-11, 3-6, 4-7, 4-9, 4-18, 5-2, 8-14, 9-8, 9-9, 10-16, 14-7, 14-8, 14-14


47

Speak Up!Your voice can say one thing while your body says something completely different.

Say the sentences at the left while your body indicates the thoughts at the right.

Your Voice Says While Your Body Says

Yes, Mother, I’d love to clean my room. Cleaning my room is the last thing I want to do.

I don’t care which movie we see. Nobody ever does what I want.

Yeah. I’ll go rock climbing with you. Man! Rock climbing terrifies me.

KEy VoCabulary

nonverbal communicationbody languagemulti-channeledemphatic gesturesdescriptive gesturesposture

stanceproxemicscommunication imperativemannerismcredibility


Sign language is a highly developed form of nonverbal communication. List some of the gestures you use to express information without words.

Chapter 3Nonverbal Communication

Nonverbal communication is characterized by facial expressions, eye contact, gestures, posture and stance, movement, and appearance. It can enrich verbal communication or take the place of words entirely. Volume, rate, and pitch are also considered nonverbal indicators, but they will not be covered until Chapter 19.


Ask students to discuss ways they communicate without words. Have volunteers demonstrate a variety of widely understood facial expressions, gestures, and movements, and ask students to translate them into words.


Play a clip of a classic silent movie and ask students to note and discuss the nonverbal messages. Talk about the effects of nonverbal communication such as mannerisms and how speakers convey credibility.

CAPSPoint out to students that live conversations are easier to decode accurately than phone conversations, and each of those are easier to decode than email. Explain that nonverbal communication supports, limits, and annotates a speaker’s message.

Objectives • Interprettypesofnonverbal

communication, including facial expressions, eye contact, gestures, posture, movement, and appearance.

• Analyzehowproxemicsareaffectedby culture, gender, and work or social contexts.

• Analyzetheeffectsofnonverbalcommunication, such as mannerisms, and how a speaker conveys credibility.

’




Differentiated InstructionStudents with Disabilities ASD Students who don’t read expressions instinctively should try to memorize the meanings commonly associated with them. Encourage students to develop a graphic glossary of expressions. On the left side of each page, have them attach pictures of facial expressions. On the right, have them enter a definition signifying what each expression means.

Struggling Learners Most people will respond to a facial expression with an expression of their own rather than verbally. Encourage students to practice verbalizing what they see by asking them to try to use the phrase, “I see by your expression that . . .” in their interactions.


Types of Nonverbal CommunicationThe letters on a keyboard can be used to make all the possible words in our language. Why, then, do people who communicate casually with friends by email or instant message use smileys so much? The answer is that even

though there are thousands of words to choose from, people communicate with much more than words. Anything people communicate beyond the literal meaning of words is called nonverbal communication. For example, in face-to-face exchanges, you often signal your feelings about what you are saying through your body language—gestures, eye contact, posture, facial expression, and even how close you stand to another person. Just like those smileys, your body language conveys a message without the use of words. (See page 56 for body language customs in other cultures.)

baCKGrouND FoR tHe ProJECtPages 48 —56 will provide the information you’ll need to complete this project.

These people are communicating with words but they are also sending messages through their bodies. What is each person communicating nonverbally to the others? How can you tell?

;->

:-(:-)

;-);->;-)

:-(Communicating with Body LanguageEncourage students to respond to nonverbal communication just as they would to verbal communication—by paying attention and replying either verbally or nonverbally. Invite a volunteer to demonstrate a variety of facial expressions, gestures, and postures that send messages. Then challenge classmates to respond verbally to each nonverbal communication.

Responding to the CaptionStudents should recognize that the background figure is expressing disappointment, anger, betrayal, or dislike. They may be ambivalent about the foreground figure, who may be perceived as angry, uncaring, or distracted. Use discussion of the photo as an opportunity to point out that nonverbal communication relies heavily on interpretation.

Facial ExpressionsInvite a volunteer to stand in front of the class with a neutral expression and neutral posture. Direct the student to remain expressionless until you whisper in his or her ear. Then the student should respond in some way.

• gettinganewcar

• findinganodd-lookingpackage

• hearingthatyourbestfriend is moving away

• seeingsomeonesliponabanana

Ask the rest of the class to take notes describing what they see on the person’s face. Then lead the class in a discussion of the volunteer’s facial expressions and what they thought each expression meant.

Framing the ProjectDirect students to begin jotting down and analyzing in their Communication Notebooks the expressions they encounter each day.

Accelerated Learners Challenge interested students to spend an hour communicating with a friend using only facial expressions.

Visual Learners To increase students’ awareness of their own facial expressions, encourage them to watch themselves in the mirror as they talk on the phone with a friend, and perhaps draw what they see.


Communicating with Body LanguageYou can often tell what people are thinking by their body language. Sighing or looking out the window might signal boredom or distraction. Folding the arms or moving away can show resistance. A shake of the head or a frown usually shows disagreement. Nonverbal communication may not be effective when expressing complicated, deep ideas, but it is a powerful means of communicating attitudes and subtle shades of meaning. You may not know why the person is bored, resistant, or unhappy, but you can learn to read the signals.

In Chapter 1, you read that the means used to transmit a message is called the channel and that not all channels use words. Nonverbal channels transmit messages via facial expression, gestures, movement, and even silence. Most of our communication is multi-channeled, conducted through both the verbal and nonverbal channels.

To express exactly what you mean, become aware of the ways you communicate nonverbally and the effect your nonverbal communication has on your overall message. Understanding the different

types of nonverbal communication can help you clarify your messages and interpret the messages of others.

Facial ExpressionsIf you watched TV with the sound turned off, you would still be able to understand a lot just by looking at facial expressions. Often you can tell how someone feels by noting a raised eyebrow, a wrinkled brow, or a tight-lipped smile. Facial expressions add very clear meanings to verbal communication and can turn a plain message into a sparkling one.

The smile is a facial expression understood around the world to mean the same thing: good feeling. Smiling may not be appropriate in all situations, but it does put people at ease, and it also shows your pleasure in communicating with them.


What do their facial expressions tell you about what these people are thinking?

Background for the ProjectDiscuss with students their ideas for presenting nonverbal communication in original ways, such as in the form of a silent movie or with musical accompaniment.

Types of Nonverbal CommunicationExplain to students that smileys and other emoticons were developed precisely because verbal communication often lacks nuances that body language and movement provide. Ask students to draw on the board their favorite emoticons and discuss how and when they use each one, then challenge them to invent a new emoticon for a communication particular to your school.

Responding to the Caption Ask students to identify all the elements of nonverbal communication in the photo. Students should comment on the facial expressions, laughter, and gestures.


Differentiated InstructionStudents with Disabilities ASD Students who don’t read expressions instinctively should try to memorize the meanings commonly associated with them. Encourage students to develop a graphic glossary of expressions. On the left side of each page, have them attach pictures of facial expressions. On the right, have them enter a definition signifying what each expression means.

Struggling Learners Most people will respond to a facial expression with an expression of their own rather than verbally. Encourage students to practice verbalizing what they see by asking them to try to use the phrase, “I see by your expression that . . .” in their interactions.


Types of Nonverbal CommunicationThe letters on a keyboard can be used to make all the possible words in our language. Why, then, do people who communicate casually with friends by email or instant message use smileys so much? The answer is that even

though there are thousands of words to choose from, people communicate with much more than words. Anything people communicate beyond the literal meaning of words is called nonverbal communication. For example, in face-to-face exchanges, you often signal your feelings about what you are saying through your body language—gestures, eye contact, posture, facial expression, and even how close you stand to another person. Just like those smileys, your body language conveys a message without the use of words. (See page 56 for body language customs in other cultures.)

baCKGrouND FoR tHe ProJECtPages 48 —56 will provide the information you’ll need to complete this project.

These people are communicating with words but they are also sending messages through their bodies. What is each person communicating nonverbally to the others? How can you tell?

;->

:-(:-)

;-);->;-)

:-(

Communicating with Body LanguageEncourage students to respond to nonverbal communication just as they would to verbal communication—by paying attention and replying either verbally or nonverbally. Invite a volunteer to demonstrate a variety of facial expressions, gestures, and postures that send messages. Then challenge classmates to respond verbally to each nonverbal communication.

Responding to the CaptionStudents should recognize that the background figure is expressing disappointment, anger, betrayal, or dislike. They may be ambivalent about the foreground figure, who may be perceived as angry, uncaring, or distracted. Use discussion of the photo as an opportunity to point out that nonverbal communication relies heavily on interpretation.

Facial ExpressionsInvite a volunteer to stand in front of the class with a neutral expression and neutral posture. Direct the student to remain expressionless until you whisper in his or her ear. Then the student should respond in some way.

• gettinganewcar

• findinganodd-lookingpackage

• hearingthatyourbestfriend is moving away

• seeingsomeonesliponabanana

Ask the rest of the class to take notes describing what they see on the person’s face. Then lead the class in a discussion of the volunteer’s facial expressions and what they thought each expression meant.

Framing the ProjectDirect students to begin jotting down and analyzing in their Communication Notebooks the expressions they encounter each day.

Accelerated Learners Challenge interested students to spend an hour communicating with a friend using only facial expressions.

Visual Learners To increase students’ awareness of their own facial expressions, encourage them to watch themselves in the mirror as they talk on the phone with a friend, and perhaps draw what they see.


Communicating with Body LanguageYou can often tell what people are thinking by their body language. Sighing or looking out the window might signal boredom or distraction. Folding the arms or moving away can show resistance. A shake of the head or a frown usually shows disagreement. Nonverbal communication may not be effective when expressing complicated, deep ideas, but it is a powerful means of communicating attitudes and subtle shades of meaning. You may not know why the person is bored, resistant, or unhappy, but you can learn to read the signals.

In Chapter 1, you read that the means used to transmit a message is called the channel and that not all channels use words. Nonverbal channels transmit messages via facial expression, gestures, movement, and even silence. Most of our communication is multi-channeled, conducted through both the verbal and nonverbal channels.

To express exactly what you mean, become aware of the ways you communicate nonverbally and the effect your nonverbal communication has on your overall message. Understanding the different

types of nonverbal communication can help you clarify your messages and interpret the messages of others.

Facial ExpressionsIf you watched TV with the sound turned off, you would still be able to understand a lot just by looking at facial expressions. Often you can tell how someone feels by noting a raised eyebrow, a wrinkled brow, or a tight-lipped smile. Facial expressions add very clear meanings to verbal communication and can turn a plain message into a sparkling one.

The smile is a facial expression understood around the world to mean the same thing: good feeling. Smiling may not be appropriate in all situations, but it does put people at ease, and it also shows your pleasure in communicating with them.


What do their facial expressions tell you about what these people are thinking?

Background for the ProjectDiscuss with students their ideas for presenting nonverbal communication in original ways, such as in the form of a silent movie or with musical accompaniment.

Types of Nonverbal CommunicationExplain to students that smileys and other emoticons were developed precisely because verbal communication often lacks nuances that body language and movement provide. Ask students to draw on the board their favorite emoticons and discuss how and when they use each one, then challenge them to invent a new emoticon for a communication particular to your school.

Responding to the Caption Ask students to identify all the elements of nonverbal communication in the photo. Students should comment on the facial expressions, laughter, and gestures.




Differentiated InstructionStudents with Disabilities Hearing Impaired/Deaf Scientists at the University of Chicago have discovered that deaf children who are not exposed to a spoken language develop a grammar for the gestures they use. This finding suggests that gestures can be a language in themselves. American Sign Language (ASL) uses both gestures and symbols to create a unique hybrid language.

Invite students who know ASL to demonstrate the way in which it uses both symbol and gesture to communicate complex ideas quickly.

Struggling Learners Encourage students to use imagery to help themselves achieve particular postures.

For example, to stand up straight, students might imagine a string tugging upward from the crown of the head. To achieve a cowed posture, they might imagine they are in a small cave.


Because facial expressions are such a natural and spontaneous part of your communication, you may not always be aware of the ones you are using. In fact, the naturalness of facial expressions is one reason they convey messages so

powerfully. Listeners can tell if a speaker is overdoing facial expressions and will likely regard that speaker with less trust than a speaker whose expressions appear natural. Too much facial expression is sometimes called “mugging.”

Eye ContactHave you ever heard one person say to another, “Look at me while I’m talking to you!” The speaker is asking for eye contact so that he or she can confirm that the person is really listening. Most people in the United States view eye contact as a way to acknowledge someone’s importance.

Both speakers and listeners should make eye contact. People trust someone who can “look them in the eye.” In addition to

honesty, eye contact conveys earnestness, sincerity, confidence, and expertise. Speakers who rely too heavily on notes, looking up at their audience infrequently, are seen as insincere, incapable, or weak.

In a small group, speakers should make eye contact with all the listeners, moving from one person to another. Speakers in front of a large audience should make eye contact with all the sections of the audience.

Eye contact does more than validate the importance of your listeners. It is also a key part of interpreting feedback. A communicator who really looks at listeners can see through their nonverbal messages if they are having trouble understanding, or if they agree, disagree, or appear to be losing interest. A good speaker will pick up on these cues and adjust his or her comments to the needs of the listeners. Without eye contact, those cues would go unnoticed.

GesturesTo drive home the usefulness of gestures, divide the class into two groups. Offer the following description to each group, one at a time.

The birdhouse is rectangular at the base, but it gets wider at the top and is capped by a triangular pyramid, which houses a perch. The perch is cylindrical and large enough to support a grown raven.

Recite the passage to each group but add illustrative gestures as you recite it to the second.

Just before the end of the class period, ask each student to draw a picture of the birdhouse. Review the pictures and discuss with students the advantage enjoyed by the students who viewed gestures.

Responding to the Caption Students should perceive that a hand held out in front of a person means “stop.”

Posture and StanceIf possible, bring students to a large space. Challenge volunteers to stand 20 feet away from the class and talk while assuming each posture below.

• curledupinaball

• sittingupstraight

• standinginaslouch

• standingupstraight

Ask the class to discuss which postures allowed the speaker to be heard and why.

Responding to the Caption Invite students to suggest word bubbles that illustrate the attitudes and emotions of each pair. These should reflect an awareness that the pair at left seems tired or disaffected and the right pair is the one that looks friendly and enthusiastic.

Accelerated Learners Invite interested students to investigate the physical theatre of Jerzy Grotowsky and teach one or more of his physical exercises to the class.

Kinesthetic Learners Explain to students that attaching a gesture to a word or concept can help speakers recall that concept. Encourage them to develop gestures and movements as they memorize speeches for this and other classes.

Curriculum ConnectionSocial Studies In Bulgaria, custom holds that shaking the head sideways from ear to shoulder means “yes.” Nodding the head up indicates “no.” Invite students to research and report on other gestures or body language that people worldwide use to indicate “yes” and “no.”


51

GesturesGestures are the movements of the limbs, body, or head. Gestures typically come in two types:

• Emphatic gestures allow a speaker to emphasize spoken words. Such gestures include shrugging, nodding, enumerating, and pointing.

• Descriptive gestures allow a speaker to help listeners visualize spoken words. For example, a speaker describing something flat or smooth might use a flat hand in a palm-down position to help listeners picture it.

Posture and StanceHow you hold your body is your posture. How you distribute the weight of your body on your feet is your stance. Posture and stance are important to both speakers and listeners.

In speakers, an upright posture (standing or sitting) can improve breathing and sharpen alertness. It also conveys interest in and respect for the subject being discussed.

In listeners, posture and stance communicate a general attitude. For example, if listeners slouch in a chair or at a desk (even if it’s because they’re tired), others will likely read their posture as communicating a lack of interest or boredom. On the other hand, sitting or standing with good posture creates a favorable impression—listeners appear to be more a part of the communication.

In which photo do these girls look friendlier? Why?

What does this gesture convey?


Visual Impact Ask students if the first thing they noticed when they opened these pages was the image of the eyes. Explain that human beings begin responding to faces early in infancy. Discuss the judgments students make about people after looking them in the eye.

Eye ContactDiscuss with students why many people in the United States are more comfortable when speakers and listeners maintain eye contact. Students may suggest that in addition to showing respect, eye contact conveys emotional reactions and connections that enrich communication. Discuss the idea that eye contact that lasts longer than five seconds becomes staring, which can make the receiver uncomfortable.


Differentiated InstructionStudents with Disabilities Anxiety Disorders Encourage students to focus upon each other during the presentation rather than the audience. As they do this, they can offer each other encouragement and support.

Struggling Learners Students who feel blocked or stuck in the process of developing a script may want to contribute by responding to verbal and nonverbal communication from their partner. Their responses will set in motion a chain of communications that will keep the scene moving.


The Message in the MovementSome body language seems to be universally understood throughout the world. Smiling, laughing, and shaking the head in disagreement share the same meaning in all cultures. Other kinds of nonverbal communication, however, mean different things to different people. If you visit another country, try to learn something about that culture’s nonverbal communication customs so you can avoid misunderstandings.

Cultural Differences in Body LanguageOne of the most important cultural disagreements about the meaning of body language concerns eye contact. Most western cultures, such as those in Europe, regard eye contact as Americans do—as part of a positive, respectful exchange. In Japan and many cultures in Africa, Latin America, and the Caribbean, however, people who make eye contact in certain situations are considered rude and disrespectful. In many Arabic cultures, eye contact that is more prolonged than most Americans would feel comfortable with is the norm. In these cultures it communicates sincerity and truthfulness.

Cultural Differences in ProxemicsWhile people in the United States tend to reserve two feet of space for very personal interaction, other cultures view the same distance as more appropriate for social interactions. For example, North Americans tend to require a larger bubble of personal space around them to feel comfortable than do Europeans, especially those from Spain and Italy. People in Arabic cultures tend to stand very close while talking. While you cannot know the spatial variations for all cultures, you can be tolerant and understanding of those whose proxemics differ from yours, just as you would expect members of other cultures to be for you.

56

The bow shows not only respect in Japan but also status. Visitors are wise to learn the customs for showing rank.

Preparing the ProjectExplain that the following activities will help students refresh their understanding of nonverbal communication.

Make ConnectionsRemind them to include in their personal examples details regarding body language, proxemics, and mannerisms.

FocusEncourage one student to read to the other the project description on page 46. Instruct them to include at least one type of body language, a mannerism, and an example of proxemics.

PlanSuggest that students begin by summarizing the main points of the conversation they are planning.

Visual ImpactAs a warm-up, have students work in pairs to analyze each of the expressions shown on this page. Encourage students to identify more than one possible interpretation of each expression. Then ask them to try to copy the expressions (offer a mirror, if you have one).

DevelopHave students discuss their characters’ motivations in terms of what they want from the other character.

Accelerated Learners Students seeking a challenge may want to adapt an existing short story or plot line. Direct them to follow the same steps in creating an adaptation that they would if they were developing an original scene.

Personal MessageI speak two languages, Body and English.

–Mae West


Make ConnectionsDiscuss with your partner all the important elements of nonverbal communication as you remember them. Share any personal examples of events in your life in which nonverbal communication made an impact. Finally, think about the following:

• how body language impacts verbal communication

• the six types of body language

• the concept of personal space

• how mannerisms and culture influence our perceptions of nonverbal communication.

FocusBriefly review the project you and your partner are working on: the two-minute conversation without words. Be sure you both understand what you will be doing.

PlanBrainstorm ideas for your nonverbal conversation. Come up with three or four good ones and then choose the one you both like best. Talk through the scene and decide the following:

• Will the scene be funny or dramatic?

• How will you begin your presentation?

• What facial expressions, gestures, and movements will you use? Try to use as many as you can.

• What will happen in the middle of the scene?

• How will you end the scene? Try to make your ending as dramatic or funny as possible.

DevelopWith your partner, develop a “script” for your nonverbal scene. Talk about the characters you are playing and what motivates them in this scene. Work on your movement, gestures, and facial expressions as you discuss the script.

57Chapter 3 Nonverbal Communication

PrEPariNG tHe ProJECt

Begin your project by looking back at the Project Prep activities in this chapter and using the directions below.

Communication in a Diverse WorldThe Message in the MovementSocial scientists have long been interested in cultural variations regarding nonverbal language. Some have developed subspecialties devoted to particular aspects of nonverbal communication. The study of eye contact is called oculesics, for example, and the study of body language is kinesics. Scientists study both oculesics and kinesics as a way of bridging cultural differences that lead to misunderstanding.

Cultural Differences in Body LanguageLike eye contact, gestures vary in meaning from one culture to the next. In the United States, Asia, Africa, South America, and most of Europe, for example, “thumbs up” is a gesture of approval. In Sardinia and Greece, however, it is often interpreted as an insult. Similarly, the OK sign made with the thumb and forefinger signifies anger in Brazil. In most other locations, however, it signifies that everything is fine.

Cultural Differences in ProxemicsUnlike body language, proxemics often vary widely between closely neighboring European countries. Most of the time, however, speakers automatically adjust their proxemics as they interact with each other.

Have students share any proxemics problems they have observed or experienced.

Visual ImpactAsk students to investigate how status in Japanese culture is communicated and acknowledged through bowing.

Surefire ImpactDiscuss these techniques with the students. Remind them that by keeping these points in mind they can ensure that their nonverbal communication reflects their intentions.

Practice To keep their presentations from becoming automatic, suggest that students vary practices by rehearsing their scenes first in slow motion and then in double time. Students may also try using exaggerated and then an understated emotional expression.

Presenting the ProjectRemind students that the CAPS guidelines on page 46 and the rubric on page 59 can offer tips for polishing their scenes before presentation.

Getting Off to a Good StartEncourage students to allow for a moment of stillness before they enter the presentation area to begin their scenes.

Visual ImpactDiscuss with students the visual clues, such as the large blue eye and the encircling white device, that let the viewer know that a unique experience is about to unfold.


Differentiated InstructionStudents with Disabilities Struggling Learners Encourage performers to present a synopsis of their scenes for the benefit of students who have difficulty interpreting nonverbal communication.

Accelerated Learners In addition to having students evaluate their classmates' scenes, invite them to make suggestions for ways to expand upon them.

58 Unit 1 Communication Basics

PracticePractice your presentation as often as needed until you both feel that you will have no trouble. Ask someone to time you. If your scene is running long, cut and practice again without that part. If it is short, add to it and practice it again.

You and your partner are almost ready to present your nonverbal conversation. Before you do, go over the CAPS guidelines on page 46 and the rubric on page 59 to be sure your project is on the right track. Also try the suggestions below for grabbing your audience right away.

Getting Off to a Good StartPlan ahead for how you can make an instant impact on your audience. You are inviting them into the world of nonverbal communication—how will you extend

that invitation? Will you, like the mute performers in Blue Man Group, come out wearing blue makeup on your face? Be prepared with whatever device, if any, you decide to use to capture attention right from the start.

Surefire ImpactUse these techniques to make a strong nonverbal impact.

• Be sure your gestures, facial expressions, posture, and movement support your intent.

• Adapt your appearance to reflect the situation and the listener’s expectations.

• Inpublicspeaking,useappropriatelighting, space, and media to accomplish your task.

PrEsENtiNG tHe ProJECt

Use the strategies that follow to help make your presentation as good as it can be.

From the opening moments of the show, the audience members know they are in for something special from Blue Man Group.

Evaluating the ProjectEncourage students to write notes next to each rating giving examples of behavior that prompted that rating.

Because nonverbal presentations are visually demanding, you may want to make a video or DVD of each presentation. Later, you can play it back and have students call out “stop!” to point out moments they found especially entertaining, instructive, or striking.

Rubric RevampTo maximize students’ observation time, allow them to adapt the rubric on this page by reformatting it as a checklist.

Verbal Learners Some students may feel most comfortable writing a narrative response to each presentation. Have these students use the rubric as a guide to topics they should cover in their narratives.

Substitute Teacher ActivityPlay a newscast clip of talking heads with the audio turned off and challenge students to describe the kind of news being reported. Then play the newscast with sound. Have students compare and contrast the content of the newscasters’ nonverbal language with the content of the news.



Score the demonstration on each point, with 4 being “outstanding” and 1 being “needs much improvement.” Come up

with an overall score and write a brief paragraph that explains your score.

EValuatiNG tHe ProJECt

Evaluate the presentations using the following rubric.

understanding of the Elements of Nonverbal Communication

Demonstration of a Nonverbal Conversation

Creativity and originality

Preparation and use of time

4 Presenters showed an understanding of nonverbal communication.

4 Presenters’ nonverbal conversation was instructive and very enjoyable.

4 The presentation was unique, well-performed, and interesting.

4 The presentation flowed smoothly and was neither too long nor too short.

3 Presenters understood most aspects of nonverbal communication.

3 Presenters’ nonverbal conversation was enjoyable but not very instructive.

3 The presentation was unique, well-performed, and somewhat interesting.

3 The presentation progressed fairly smoothly and was neither too long nor too short.

2 Presenters did not seem to understand many elements of nonverbal communication.

2 Presenters’ nonverbal conversation was somewhat enjoyable but not instructive.

2 The presentation was fairly interesting and well-performed but not unique.

2 The presentation had a few awkward moments and went a bit over or under the time limit.

1 Presenters misunderstood most elements of nonverbal communication.

1 Presenters’ nonverbal conversation was neither enjoyable nor instructive.

1 The presentation was neither unique, well-performed, nor interesting.

1 The presentation was not smoothly executed and went well over or under the time limit.

Surefire ImpactDiscuss these techniques with the students. Remind them that by keeping these points in mind they can ensure that their nonverbal communication reflects their intentions.

Practice To keep their presentations from becoming automatic, suggest that students vary practices by rehearsing their scenes first in slow motion and then in double time. Students may also try using exaggerated and then an understated emotional expression.

Presenting the ProjectRemind students that the CAPS guidelines on page 46 and the rubric on page 59 can offer tips for polishing their scenes before presentation.

Getting Off to a Good StartEncourage students to allow for a moment of stillness before they enter the presentation area to begin their scenes.

Visual ImpactDiscuss with students the visual clues, such as the large blue eye and the encircling white device, that let the viewer know that a unique experience is about to unfold.


Differentiated InstructionStudents with Disabilities Struggling Learners Encourage performers to present a synopsis of their scenes for the benefit of students who have difficulty interpreting nonverbal communication.

Accelerated Learners In addition to having students evaluate their classmates' scenes, invite them to make suggestions for ways to expand upon them.


PracticePractice your presentation as often as needed until you both feel that you will have no trouble. Ask someone to time you. If your scene is running long, cut and practice again without that part. If it is short, add to it and practice it again.

You and your partner are almost ready to present your nonverbal conversation. Before you do, go over the CAPS guidelines on page 46 and the rubric on page 59 to be sure your project is on the right track. Also try the suggestions below for grabbing your audience right away.

Getting Off to a Good StartPlan ahead for how you can make an instant impact on your audience. You are inviting them into the world of nonverbal communication—how will you extend

that invitation? Will you, like the mute performers in Blue Man Group, come out wearing blue makeup on your face? Be prepared with whatever device, if any, you decide to use to capture attention right from the start.

Surefire ImpactUse these techniques to make a strong nonverbal impact.

• Be sure your gestures, facial expressions, posture, and movement support your intent.

• Adapt your appearance to reflect the situation and the listener’s expectations.

• Inpublicspeaking,useappropriatelighting, space, and media to accomplish your task.

PrEsENtiNG tHe ProJECt

Use the strategies that follow to help make your presentation as good as it can be.

From the opening moments of the show, the audience members know they are in for something special from Blue Man Group.

Evaluating the ProjectEncourage students to write notes next to each rating giving examples of behavior that prompted that rating.

Because nonverbal presentations are visually demanding, you may want to make a video or DVD of each presentation. Later, you can play it back and have students call out “stop!” to point out moments they found especially entertaining, instructive, or striking.

Rubric RevampTo maximize students’ observation time, allow them to adapt the rubric on this page by reformatting it as a checklist.

Verbal Learners Some students may feel most comfortable writing a narrative response to each presentation. Have these students use the rubric as a guide to topics they should cover in their narratives.

Substitute Teacher ActivityPlay a newscast clip of talking heads with the audio turned off and challenge students to describe the kind of news being reported. Then play the newscast with sound. Have students compare and contrast the content of the newscasters’ nonverbal language with the content of the news.



Score the demonstration on each point, with 4 being “outstanding” and 1 being “needs much improvement.” Come up

with an overall score and write a brief paragraph that explains your score.

EValuatiNG tHe ProJECt

Evaluate the presentations using the following rubric.

understanding of the Elements of Nonverbal Communication

Demonstration of a Nonverbal Conversation

Creativity and originality

Preparation and use of time

4 Presenters showed an understanding of nonverbal communication.

4 Presenters’ nonverbal conversation was instructive and very enjoyable.

4 The presentation was unique, well-performed, and interesting.

4 The presentation flowed smoothly and was neither too long nor too short.

3 Presenters understood most aspects of nonverbal communication.

3 Presenters’ nonverbal conversation was enjoyable but not very instructive.

3 The presentation was unique, well-performed, and somewhat interesting.

3 The presentation progressed fairly smoothly and was neither too long nor too short.

2 Presenters did not seem to understand many elements of nonverbal communication.

2 Presenters’ nonverbal conversation was somewhat enjoyable but not instructive.

2 The presentation was fairly interesting and well-performed but not unique.

2 The presentation had a few awkward moments and went a bit over or under the time limit.

1 Presenters misunderstood most elements of nonverbal communication.

1 Presenters’ nonverbal conversation was neither enjoyable nor instructive.

1 The presentation was neither unique, well-performed, nor interesting.

1 The presentation was not smoothly executed and went well over or under the time limit.




Communication Past and Present

Shake on ItHandshakes and “high fives” have become a fairly universal greeting, but other forms of nonverbal greeting are also prominent. Bowing, for example, is especially prominent in Asian cultures, and both bows and curtseys are still in use among European aristocrats and Americans in formal contexts. People in Russian, European, and Latin American cultures greet each other and demonstrate friendship with a kiss on both cheeks, and Americans sometimes kiss close friends and relatives on one cheek. People in many cultures combine the two by kissing the hand of a person they respect or revere—though hand kissing is most often performed by men and received by women. On more informal occasions, kisses are supplanted by hugs. Hugs, even more than kisses, tend to communicate affection as well as greeting.

People also greet each other nonverbally with gestures that can be read from a distance. Waving and tipping the hat are common gestures. So is making a prayerlike gesture at the head or the chest while nodding or bowing.

Saluting is a gesture that signifies loyalty or obedience as well as greeting. Salutes range in motion from the extravagant Roman salute in which the individual raises his or her entire arm in greeting to a minor wrist salute. The military salute consists of raising the right hand to the right eyebrow so that the first finger of the hand touches the eyebrow.

Invite students to demonstrate salutes they’ve used in scouting or ones they've seen in historical and fictional contexts. What do they have in common? How do they differ?

Further ResearchArticles Lester, Benjamin, “Handshake: Window on Your Genes?” ScienceNOW, November 2007, p. 4.

Morrison, Terry, Kiss, Bow, or Shake Hands, Adams Media, 2006.

Other Media For an entertaining evaluation of high fives, visit the following Web site: www.nationalhighfiveday.com/origin.html

Survey Says. . .Ask students to survey classmates about their most common form of greeting and their most preferred form of greeting. If possible, encourage students to film or videotape unusual greetings.

Mass Communication


Shake on It

From the “right hand of friendship”…Some nonverbal expressions have a long history. The handshake is a good example. This quick, powerful interaction has been around for centuries. There are many

theories about how the handshake originated. One looks to Biblical times and the Book of Galatians, in which Paul indicates that in Jerusalem he met with James and John, both of whom extended “the right hand of friendship.” Some anthropologists believe, however, that the handshake originated in medieval Europe. Certain knights at that

time were known to pull their concealed swords on unsuspecting strangers. To convey that they had no such intentions, peaceful knights took to offering an open hand to show that they had no hidden weapons. Soon, all manner of men adopted this greeting. Even today, males are more likely to shake hands when they meet than are females.

English Quakers in the 1600s adopted the handshake, replacing the more formal, upper-class bow. Thomas Jefferson is given credit for further popularizing the handshake during his presidency, perhaps believing it to be a more democratic form of greeting than the bow.

Communication andPast PresentIn the course of producing a documentary about handshakes, filmmaker Michael Britto has been researching the meaning behind handshakes around the globe and exploring the kinds of handshakes one might encounter on the streets of New York City. He describes a variety of handshakes that are similar to the “soul brother” shakes described in this feature.

These variations include “biscuit bumps” and “pounds,” in which participants each make a fist or “biscuit” and then lightly bump the fists together, knuckle to knuckle or top to bottom. “Daps,” which may get their nickname as an acronym for “dignity and pride,” are yet another variation. They consist of slaps, shakes, snaps, and other movements that people have developed as a sort of secret handshake.

In doing his street research, Britto sometimes encountered resistance from groups that have secret handshakes and want to keep them that way.

Some students may recall having invented secret handshakes for clubs of their own. Ask students to share their secret handshakes or invent one they can teach to the class. To spark students’ imaginations, play a clip of the handshake scene from the 1998 version of The Parent Trap.

Visual ImpactInitiate a discussion of the situation and purpose behind each of the greetings pictures on these pages.

From the Field: Tips from Teachers

“After discussing nonverbal communication, I give my class the following exercise: Go out in the hall and line up by birthday (month and day) without using any verbal communication.

I watch them carefully so that they don’t communicate by writing or any other method. They realize that they can use

their fingers for months and days. When they are finished, I have each one (beginning with January) give his or her birthday. We all laugh when someone is out of order.”



. . . to the “high five”

In contemporary America, the “soul brother handshake” became popular in the 1960s in African American communities. It is an extended handshake, with a gripping of thumbs and a hook clasp of the fingers following the traditional handshake. The hand slaps of the “gimme five” or “high five” variety followed and are still popular.

The classic handshake, however, remains an expected part of social interactions, regardless of gender, class, or occasion. The handshake communicates friendliness and observance of social convention. It helps put others at ease. It is as much a part of communication in the business world as the phone call or the e-mail.

A good handshake has these qualities:

• The whole hand is involved, not just the tips of the fingers.

• The palm is vertical, thumb on top.

• The grip is firm, but polite. A limp or loose grip (the wet fish grip) is almost universally seen as a sign of weakness. Too tight a squeeze will be resented as aggressive or intimidating.

• The up-and-down “pump” is not exaggerated. A few pumps (1−3) are enough. Unless you are very close friends, hanging on to another person’s hand longer than 1−3 “pumps” is usually perceived as too intimate.

Communication and


DebriefingFacilitate a discussion about what students learned regarding their own nonverbal communication and the customs they have adopted as members of this culture. How would they take culture into account when approaching a foreign exchange student?

Using Vocabulary Words 1. body language gestures, eye

contact, posture, facial expression, and proxemics that convey feeling. Example: slouching when one is bored or tired

2. communication imperative the idea that you are always communicating something. Example: You cannot NOT communicate.

3. credibility worthiness of belief. Example: what a sincere, honest speaker conveys to the audience

4. mannerism a distinctive behavior. Example: pushing up one’s glasses every few seconds

5. multi-channeled conducted through both verbal and nonverbal means. Example: a tale told via book form, audiotape, and DVD

6. nonverbal communication what people communicate beyond the literal meaning of words. Example: a gesture, such as when someone nods his or her head “yes”

7. posture how you hold your body. Example: keeping your head high and shoulders back

8. proxemics the use of space. Example: standing very close to a loved one to speak privately

9. stance how you distribute the weight of your body on your feet. Example: feet apart; legs straight

Reviewing Key Ideas 1. Nonverbal communication is

important in creating meaning because it sends real messages to the receiver.

2. Audiences might place more faith in nonverbal communication

because words are sometimes not spoken in truth but gestures, eyes, and facial expressions often reveal the truth.

3. Facial expressions, when friendly and natural, help you connect to the audience and gain their trust. Eye contact shows confidence and tells the audience that you are engaged, honest, and sincere. Gestures help emphasize important words and also help when describing. They help listeners understand your message. An alert posture and friendly stance convey

authority and alertness. Relaxed, easy movement sets the audience at ease. Too little movement looks uncomfortable; too much is distracting. Your appearance will hurt your message if you are sloppy, uncombed, or inappropriately dressed. Dress in a way that makes your audience comfortable.

4. 3 to 18 inches = intimate 1.5 to 4 feet = personal 4 to 12 feet = social 12 to 20 feet = public speaking


Chapter 3 Review

Using Vocabulary WordsFor each of the following terms, answer two questions:

• What is it?

• What is an example?

1. body language

2. communication imperative

3. credibility

4. mannerism

5. multi-channeled

6. nonverbal communication

7. posture

8. proxemics

9. stance

Reviewing Key Ideas 1. Give two reasons why nonverbal

communication is important to the creation of meaning.

2. Explain why audiences might place more faith in nonverbal communication than in verbal communication.

3. List the six types of nonverbal communication and provide an example of how each can alter or improve an audience’s understanding of a speaker’s message.

4. Identify the four principal spatial distances and the types of communication common to each.

Reflecting on Your ProjectWith your partner, discuss which parts of the project went especially well and which gave you the most trouble. Come up with two or three strategies for making the hard parts easier on a future project.

Responding to the Essential QuestionUse the headings in this chapter to help you write a brief chapter summary that answers the question, “How and what do people communicate without words?” Compare your summary with your partner’s to see if you both covered the main points.

Extending Your UnderstandingEveryday Life 1. Observe interactions of others in a

social setting—perhaps at a school sporting event or on a field trip. Discuss the nonverbal behaviors you see, including use of space.

2. Seek out people your age from other cultures. Use the six types of nonverbal communication as a guide to ask about differences in nonverbal communication between their native culture and the culture they are now in.

2. Answers will vary, but should reflect an understanding of nonverbal communication and culture.

3. Answers will vary, but should indicate how others respond to students’ gestures, facial expressions, and nonverbal communication.

In the Media 4. Discuss with students the

conventions of silent films. Which gestures and movements function as a form of sign language? Which are natural expressions of emotion?

5. Encourage students to identify and mimic mannerisms of widely known celebrities. Invite the class to guess which celebrity is being portrayed.

6. Challenge interested students to learn and perform a pantomime exercise such as the mime examining a wall or walking against the wind.

7. Have students work in groups to evaluate nonverbal messages surrounding particular market segments such as teens, young adults, parents, and business people.

8. Challenge interested students to develop sign language to accompany a scene or speech.

Interpreting GraphicsMake sure that students understand and demonstrate the links between distances, numbers of people, and types of communication.

Additional Projects 1. Group Project: Encourage

students to use model figures to demonstrate how people will relate to each space they design.

2. Individual Project: Ask students to demonstrate the concept of “dress for success.” They may take a serious approach or develop a satire in order to convey the concept to classmates in a memorable way.

Reflecting on Your ProjectInvite students to describe elements of the process that worked well for their group. Ask them what they plan to do differently next time. Encourage them to use their Communication Notebook entries to help clarify their thoughts.

Responding to the Essential QuestionStudents’ responses should include the six types of nonverbal communication, proxemics, and body language. Their

answers should reflect an understanding that nonverbal communication provides conceptual and emotional information.

Extending Your UnderstandingEveryday Life 1. Students will observe many nonverbal

behaviors, including hugs, handshakes, high fives, frowns, smiles, and variables in proxemics according to how well the people involved know each other, their culture, or gender.


63

3. Keep track of the ways you may be using gestures, facial expressions, and silence to communicate with others. How do people respond to your nonverbal messages?

In the Media 4. Rent an old silent movie such as The

General with Buster Keaton or The Gold Rush with Charlie Chaplin. Take note as you watch the actors perform. How do they go about silently conveying emotion? What gestures, movements, and facial expressions do they use?

5. Watch an interview on a television news program. Try to find examples of instances in which the person being interviewed displayed mannerisms.

6. Read articles by famous mimes about how to express feelings and concepts without the use of words.

7. Look through magazines and newspapers and study the body language of the people in the photographs. What kinds of nonverbal messages are they sending?

8. Find a Web site that shows images illustrating the use of sign language. Learn as many signs as you can and share them with your classmates and family.

Interpreting Graphics Look at the graphic above. On a separate sheet of paper, draw a representation of the people who would fit into each group.

Additional Projects1. Group Project: In a small group,

research some aspect of being an interior designer or architect, two careers that deal with public spaces. Look for information on how the use of space is important in each. Do your research separately and then come together to share your findings. Write a report based on this information. Bring pictures, drawings, blueprints, or other examples to show the class.

2. Individual Project: Research the “dress for success” concept in at least two sources, from books, articles, or Web sites. List the suggestions you find about clothing and makeup. Apply the CAPS model to your research and present your research to the class. If your teacher permits, consider the use of costumes to help you make your points.


ProxEmiCs iN thE uNitED statEs

3 inches to 18 inchesintimate: 2 people sharing

4 feet to 12 feetsocial: party conversation

12 feet to 20 feetpublic: public speaking

1.5 feet to 4 feetpersonal: small groups talking

Chapter 3 Review


DebriefingFacilitate a discussion about what students learned regarding their own nonverbal communication and the customs they have adopted as members of this culture. How would they take culture into account when approaching a foreign exchange student?

Using Vocabulary Words 1. body language gestures, eye

contact, posture, facial expression, and proxemics that convey feeling. Example: slouching when one is bored or tired

2. communication imperative the idea that you are always communicating something. Example: You cannot NOT communicate.

3. credibility worthiness of belief. Example: what a sincere, honest speaker conveys to the audience

4. mannerism a distinctive behavior. Example: pushing up one’s glasses every few seconds

5. multi-channeled conducted through both verbal and nonverbal means. Example: a tale told via book form, audiotape, and DVD

6. nonverbal communication what people communicate beyond the literal meaning of words. Example: a gesture, such as when someone nods his or her head “yes”

7. posture how you hold your body. Example: keeping your head high and shoulders back

8. proxemics the use of space. Example: standing very close to a loved one to speak privately

9. stance how you distribute the weight of your body on your feet. Example: feet apart; legs straight

Reviewing Key Ideas 1. Nonverbal communication is

important in creating meaning because it sends real messages to the receiver.

2. Audiences might place more faith in nonverbal communication

because words are sometimes not spoken in truth but gestures, eyes, and facial expressions often reveal the truth.

3. Facial expressions, when friendly and natural, help you connect to the audience and gain their trust. Eye contact shows confidence and tells the audience that you are engaged, honest, and sincere. Gestures help emphasize important words and also help when describing. They help listeners understand your message. An alert posture and friendly stance convey

authority and alertness. Relaxed, easy movement sets the audience at ease. Too little movement looks uncomfortable; too much is distracting. Your appearance will hurt your message if you are sloppy, uncombed, or inappropriately dressed. Dress in a way that makes your audience comfortable.

4. 3 to 18 inches = intimate 1.5 to 4 feet = personal 4 to 12 feet = social 12 to 20 feet = public speaking


Chapter 3 Review

Using Vocabulary WordsFor each of the following terms, answer two questions:

• What is it?

• What is an example?

1. body language

2. communication imperative

3. credibility

4. mannerism

5. multi-channeled

6. nonverbal communication

7. posture

8. proxemics

9. stance

Reviewing Key Ideas 1. Give two reasons why nonverbal

communication is important to the creation of meaning.

2. Explain why audiences might place more faith in nonverbal communication than in verbal communication.

3. List the six types of nonverbal communication and provide an example of how each can alter or improve an audience’s understanding of a speaker’s message.

4. Identify the four principal spatial distances and the types of communication common to each.

Reflecting on Your ProjectWith your partner, discuss which parts of the project went especially well and which gave you the most trouble. Come up with two or three strategies for making the hard parts easier on a future project.

Responding to the Essential QuestionUse the headings in this chapter to help you write a brief chapter summary that answers the question, “How and what do people communicate without words?” Compare your summary with your partner’s to see if you both covered the main points.

Extending Your UnderstandingEveryday Life 1. Observe interactions of others in a

social setting—perhaps at a school sporting event or on a field trip. Discuss the nonverbal behaviors you see, including use of space.

2. Seek out people your age from other cultures. Use the six types of nonverbal communication as a guide to ask about differences in nonverbal communication between their native culture and the culture they are now in.

2. Answers will vary, but should reflect an understanding of nonverbal communication and culture.

3. Answers will vary, but should indicate how others respond to students’ gestures, facial expressions, and nonverbal communication.

In the Media 4. Discuss with students the

conventions of silent films. Which gestures and movements function as a form of sign language? Which are natural expressions of emotion?

5. Encourage students to identify and mimic mannerisms of widely known celebrities. Invite the class to guess which celebrity is being portrayed.

6. Challenge interested students to learn and perform a pantomime exercise such as the mime examining a wall or walking against the wind.

7. Have students work in groups to evaluate nonverbal messages surrounding particular market segments such as teens, young adults, parents, and business people.

8. Challenge interested students to develop sign language to accompany a scene or speech.

Interpreting GraphicsMake sure that students understand and demonstrate the links between distances, numbers of people, and types of communication.

Additional Projects 1. Group Project: Encourage

students to use model figures to demonstrate how people will relate to each space they design.

2. Individual Project: Ask students to demonstrate the concept of “dress for success.” They may take a serious approach or develop a satire in order to convey the concept to classmates in a memorable way.

Reflecting on Your ProjectInvite students to describe elements of the process that worked well for their group. Ask them what they plan to do differently next time. Encourage them to use their Communication Notebook entries to help clarify their thoughts.

Responding to the Essential QuestionStudents’ responses should include the six types of nonverbal communication, proxemics, and body language. Their

answers should reflect an understanding that nonverbal communication provides conceptual and emotional information.

Extending Your UnderstandingEveryday Life 1. Students will observe many nonverbal

behaviors, including hugs, handshakes, high fives, frowns, smiles, and variables in proxemics according to how well the people involved know each other, their culture, or gender.


63

3. Keep track of the ways you may be using gestures, facial expressions, and silence to communicate with others. How do people respond to your nonverbal messages?

In the Media 4. Rent an old silent movie such as The

General with Buster Keaton or The Gold Rush with Charlie Chaplin. Take note as you watch the actors perform. How do they go about silently conveying emotion? What gestures, movements, and facial expressions do they use?

5. Watch an interview on a television news program. Try to find examples of instances in which the person being interviewed displayed mannerisms.

6. Read articles by famous mimes about how to express feelings and concepts without the use of words.

7. Look through magazines and newspapers and study the body language of the people in the photographs. What kinds of nonverbal messages are they sending?

8. Find a Web site that shows images illustrating the use of sign language. Learn as many signs as you can and share them with your classmates and family.

Interpreting Graphics Look at the graphic above. On a separate sheet of paper, draw a representation of the people who would fit into each group.

Additional Projects1. Group Project: In a small group,

research some aspect of being an interior designer or architect, two careers that deal with public spaces. Look for information on how the use of space is important in each. Do your research separately and then come together to share your findings. Write a report based on this information. Bring pictures, drawings, blueprints, or other examples to show the class.

2. Individual Project: Research the “dress for success” concept in at least two sources, from books, articles, or Web sites. List the suggestions you find about clothing and makeup. Apply the CAPS model to your research and present your research to the class. If your teacher permits, consider the use of costumes to help you make your points.


ProxEmiCs iN thE uNitED statEs

3 inches to 18 inchesintimate: 2 people sharing

4 feet to 12 feetsocial: party conversation

12 feet to 20 feetpublic: public speaking

1.5 feet to 4 feetpersonal: small groups talking

Chapter 3 ReviewContact your sales representative to request an examination copy.



Unit One

109

108 Unit One Communication Basics Culminating Activities 109

Gender JourneyTell students that when they gather information from sources directly, they are conducting primary research (also called field research). It’s a good way to get specific, new, real-world data. To insure credibility in their research, students should choose clear guidelines for determining what expressions constitute a “smile.”

Have students discuss the results of their research. What number of girls and boys smiled? What percentages of girls and boys smiled? Interested students may want to broaden their sample to include other grades.

You may want to share with students the results of a study by Washington University researcher David Dodd, who found that beginning around age 12, girls and women tend to smile more than boys and men. Dodd also found that women’s increased tendency to smile seemed to continue through adulthood. For more on this study, visit: http://record.wustl.edu/archive /2000/03-02-00/articles/smile.html.

Media MasterBefore they begin work on their advertisement script, ask partners to determine whether their audience will be supportive, neutral, indifferent, or hostile to their subject. Would an appeal to middle school students be most effective using reason, credibility, or emotion? Have them think back a few years and come up with a unique slant that will draw in the audience.

Then ask them to think about how to take advantage of the radio medium in a scant 30 seconds. After first outlining their short scripts, have students read them aloud with any sound effects in place, timing the length.

Own It!Have students discuss the “one rule” they would employ for becoming a good speaker. Students should recognize the importance of listening in crafting a message, evaluating feedback, and changing a message to suit an audience. They may also suggest that refining their own thoughts is important to effective communication. Invite students to use illustration, graphic design, and abstract symbolism to create visuals.

Differentiated InstructionStruggling Learners Students who struggle with the pressure of speaking in front of large audiences may want to take a backseat after writing their radio advertisement with a partner. Perhaps they could be the sound effects person for the presentation or play the smallest speaking part in order to ease into the task.

Accelerated Learners Challenge technologically savvy students to include in their radio advertisement indications for attention-grabbing sound effects, voiceovers, or video clips to enhance the production of their message.

Auditory Learners Allow students to develop their radio scripts by improvising and recording “drafts.” They can listen to each draft, take notes, and use the best lines in the script.


Unit One

109 Chapter 5 Influences on Communication

Culminating ActivitiesIn this unit you have explored communication basics: the elements of communication, oral language, nonverbal communication, listening, and factors that influence communication. The activities on these pages will help you apply your understandings to situations in everyday life.

Ryan had been working at the electronics store for just a week. A co-worker named Gwen was showing him how to handle returned merchandise. Gwen reminded Ryan of his bossy older sister. When Gwen was explaining the return process, Ryan was thinking about his sister and felt Gwen too was being bossy.

Gwen also used a few terms that Ryan didn’t know, such as manufacturer incentive and rebate. Ryan didn’t want to look stupid so he just nodded and said, somewhat impatiently, that he understood.

Ryan got his first return on a busy Saturday afternoon, and

he couldn’t remember the procedure. He was embarrassed to ask Gwen, so he kept trying different things on the cash register as the checkout line got longer and longer. Finally the cash register froze—and he had to turn to Gwen for help after all. Ryan was humiliated and when he got home later that afternoon told his parents he didn’t want to go back to that job.

What Went Wrong? With a partner, use the terms from the communication model to analyze the interaction between Ryan and Gwen. Identify the purpose, audience, and occasion for the exchange. Then draw a model with the elements labeled and show where in the process successful communication broke down.

Make it Right Then with your partner, re-enact the scene between Gwen and Ryan to show a successful communication experience. Your characters can use asides (times when they step out of character and speak directly to the audience) to explain the improved communication. Present your reenactment to the class.

With a small group, obtain a copy of a recent yearbook. Choose a class (eighth graders or sophomores, for example) and count the number of individual photos for that class. Assign each group member a page or more of photos to tally the number of males who are smiling in the photos and the number of females who are smiling. Record the results on a two-column chart. When all the results are in, compile them into one master chart. Then, in discussion with your group, explain what the results might mean, referring to information in Unit 1 to help you. Write a paragraph to share your explanation.

Unit 1 began with an anonymous quote: “There is only one rule to become a good speaker: learn how to listen.” (See page 3.) Think back over what you learned in Unit 1. Think about the projects you worked on and the other activities you completed. Think about your own real-world communication. Does what you learned in Unit 1 support the idea expressed in that quote? If not, what “one rule” would you come up with to become a good speaker? Write a paragraph or create a visual to express your response.

Yearbook Smiles

Males Females

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With a partner, create a script for a 30-second anti-drug radio advertisement aimed at middle school students that would be played on a rock music station. Use information from Unit 1 to make sure you shape the message to the audience in all possible ways.

GenderJourney

Own It!

Media Master

Unit OneCulminating ActivitiesThe activities on these two pages offer career-related, real-world applications for using communication strategies. They also provide opportunities for:

• exploringtheroleofgenderincommunication

• increasingmedialiteracyandexpression

• reflectingontheunit’slearning

• synthesizingnewlearningwithpriorknowledge and experience.

Workplace WorkoutYou might ask volunteers to role-play the parts of Ryan and Gwen to help students see firsthand the communication difficulties the two experience.

What Went Wrong Students might identify the following as factors in what went wrong: As the sender, Gwen was trying to communicate a message that would teach Ryan a set of procedures. However, she failed to notice that Ryan did not understand her directions. As the receiver, Ryan allowed biases and fear of failure to cause interference. Ryan also failed to use feedback effectively.

Make it RightStudents might suggest the following to help improve the communication: Gwen should try to make her message simple and clear. She should state her purpose and ask for feedback at each stage of every procedure. Ryan should provide feedback and let Gwen know what he does and does not understand. Gwen can then alter her message to overcome interference.

Evaluation Checklist___Sender was clear.

___Message was easy to understand.

___Receiver initiated feedback.

___Interference was eliminated.

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