272 Comm Arts Final

Front 1

Position

Back 1

A position is a social label that tells people who we are, what our duties and rights are, adn where we stand in comparison to others

Front 2

role

Back 2

set of expectations that govern how persons holding a given position should behave

Front 3

role rigidity

Back 3

When role takes over ones identity

ex. Military officer/Dad?

Front 4

role repertoire

Back 4

the number of roles one can successfully play

Front 5

role conflict

Back 5

when two or more roles make opposing demands

work takes away from home, home takes away from work

Front 6

looking-glass self

Back 6

the self that comes to us from others; others act as mirrors reflecting back at us who we are and how we are doing

Front 7

social comparison theory

Back 7

people have a basic need to know how they are doing; they need to knwohow thier opinionsn and abilities stack up and turn to other people for feedback

Front 8

self-perception theory

Back 8

one way we learn about hwo we are is through self-observation, in order to get a clearer idea of our emotions or attitudes we observe our external behaviors

Front 9

face

Back 9

describes the part of self presented to others for their approval

Front 10

face-work

Back 10

effort spent in presenting face to others

Front 11

line

Back 11

lines consist of the verbal and nonverbal behaviro we use during a performance. this is how we present face.

Front 12

front, Setting, Personal front

Back 12

our everyday performance takes two parts; the public part, teh stage, he calls the front; Setting includes teh sc enery adn props; Personal front involves costume, makeup, physical charac. gestures, ect

Front 13

Back region

Back 13

Backstage behavior; the private area where social actors can escape the critical eye; most people need a place where they can slip out of thier roles and simply be whoever they want

Front 14

Role Distance

Back 14

We find a way to let others know the roles we are playing dont completely define us; there is more to us than meets the eye

Front 15

Role SEts

Back 15

Ensemble Acting: most plays are not one person shows-the success of the performance depends on teamwork; others who help put on a given performance

Front 16

Altercasting

Back 16

Choosing relational partners who will play thier parts reliably; choosing friends who support our def. of self

Front 17

Mirroring

Back 17

Another technique to ensure smooth performance, here we achieve coordination by following the lead of our partner

Front 18

mutual negotiation

Back 18

both partners wrok together to construct roles that are mutually satisfactory

Front 19

narrative theorists

Back 19

believe that we make sense of our world by making up adn sharing stories about it, the social roles we choose to play are reinforced and maintained through these stories/legends

Front 20

myth

Back 20

an anonymous shared story of origins and destinies; explain the nature and goals of a country and reflict teh qualities and values admired by its citizens; Politician storys: America is a chosen nation

Front 21

mindlessness

Back 21

a state of reduced attention; accept whatever authorities say is true

Front 22

mindfulness

Back 22

a state of alertness; have their own opinions, examine thoughts and acitons critically, looking for new solutions and perspectives

Front 23

social identity

Back 23

when we conform to standard roles and rules

Front 24

personal identity

Back 24

when we resist standard roles or make our own rules

Front 25

modal self

Back 25

refers to an idealized type of perosn whose existance si viewed as essential if the prevailing social order within a culture is to maintain itself

Front 26

self-concept

Back 26

each person's own subjective veiw or image of him- or himself as a person

Front 27

personality

Back 27

each of us exhibits organized, enduring adn characteristic ways of behaving; Personality refers to how sychologist see us, self concept is how we see ourselves

Front 28

narrative-self

Back 28

personal myth; concept is fashioned over time as a narrative with ourselves as the main heroic character

Front 29

psychosocial moratorium

Back 29

process of trying on new identities without playing for keeps

Front 30

self-schemata

Back 30

cognitive structures that organize adn guide processing of self-related information and make sense of thier collection of self concents

Front 31

life script

Back 31

relativley fixed way of thinking about the self adn relating to others; the repitoire of events that a person perceives as identified with themselves

Front 32

self-handicapping strategies

Back 32

using a lifescript to manufacture protective excuses ahead of time to prevent possible failure in the future

Front 33

behavioral self

Back 33

self-understanding that is brought to a situation and helps us communicate in that situation

Front 34

self-perception theory

Back 34

we come to know who we are by observing our own behavior after the fact adn then inferring what kind of person we must be

Front 35

relational self

Back 35

refers to the particular self identity we normally display in a given relationship

Front 36

presenting self

Back 36

the particular self that steps forward and interacts with another person

Front 37

communicator style

Back 37

the way one verbally, nonverbally, adn paraverbally interacts to signal how literal meaning should be taken, interpreted, filtered and understood

Front 38

Position

Back 38

A position is a social label that tells people who we are, what our duties and rights are, adn where we stand in comparison to others

Front 39

role

Back 39

set of expectations that govern how persons holding a given position should behave

Front 40

role rigidity

Back 40

When role takes over ones identity

ex. Military officer/Dad?

Front 41

role repertoire

Back 41

the number of roles one can successfully play

Front 42

role conflict

Back 42

when two or more roles make opposing demands

work takes away from home, home takes away from work

Front 43

looking-glass self

Back 43

the self that comes to us from others; others act as mirrors reflecting back at us who we are and how we are doing

Front 44

social comparison theory

Back 44

people have a basic need to know how they are doing; they need to knwohow thier opinionsn and abilities stack up and turn to other people for feedback

Front 45

self-perception theory

Back 45

one way we learn about hwo we are is through self-observation, in order to get a clearer idea of our emotions or attitudes we observe our external behaviors

Front 46

face

Back 46

describes the part of self presented to others for their approval

Front 47

face-work

Back 47

effort spent in presenting face to others

Front 48

line

Back 48

lines consist of the verbal and nonverbal behaviro we use during a performance. this is how we present face.

Front 49

front, Setting, Personal front

Back 49

our everyday performance takes two parts; the public part, teh stage, he calls the front; Setting includes teh sc enery adn props; Personal front involves costume, makeup, physical charac. gestures, ect

Front 50

Back region

Back 50

Backstage behavior; the private area where social actors can escape the critical eye; most people need a place where they can slip out of thier roles and simply be whoever they want

Front 51

Role Distance

Back 51

We find a way to let others know the roles we are playing dont completely define us; there is more to us than meets the eye

Front 52

Role SEts

Back 52

Ensemble Acting: most plays are not one person shows-the success of the performance depends on teamwork; others who help put on a given performance

Front 53

Noble self

Back 53

the person who has a self-schema that emphasises consistancy above all else

Front 54

rhetorical reflector

Back 54

for each situation a person reflects a new self

Front 55

rhetorical sensitive

Back 55

believes there is no single self adn seeks a variety of ways to communicate ideas; think about the way we communicate, before, during adn after we do so

Front 56

communication apprehension

Back 56

an individuals level of fear or anxiety ass. with real or anticipated comm.

Front 57

attachment style

Back 57

developed in infancy and continue to influence our comm. and relationship behavior throughout life

Front 58

secure style

Back 58

images of self adn other are both positive; dev. highly sociable behavior

Front 59

fearful style

Back 59

low regard for self is more dependent on others for acceptance, but does not trust others

Front 60

preoccupied style

Back 60

person has a low opion of self, but generally positive view of others

Front 61

dismissing style

Back 61

denys any need for attachment; low self image adn low opinion of other people

Front 62

need for intimacy

Back 62

recurrent preference or readiness for experiences of close, warm adn and comm. exchange with others

Front 63

self-disclosure

Back 63

any information you reveal about yourself that others are unlikely to discover from other sources.

Front 64

aligning action

Back 64

a statement that tries to minimize the perceived deveiation form thenorm by pointing out special circumstances or reason why the deviation should take place; eliminating useless introductions; freshman orientation

Front 65

coming out

Back 65

a self affirming rite where one recognizes ther sexual orientation adn then share that news with others