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110 Cards in this Set
- Front
- Back
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THE SUM OF WHO A PERSON IS, THE PERSONS CENTRAL INNER FORCE
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SELF
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A PERSONS SUBJECTIVE DISCRIPTION OF WHO HE OR SHE IS
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SELF CONCEPT
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A PERSONS VIEW OF HIM OR HERSELF IN A PARTICULAR VIEW OF CIRCUMSTANCE
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SELF IMAGE
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LEARNED PREDISPOSITION TO RESPOND TO A PERSON, OBJECT OR IDEA IN A FAVORABLE OR UNFAVORABLE WAY
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ATTITUDE
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THE WAY IN WHICH YOU STRUCTURE YOUR UNDERSTANDING OF REALITY-WHAT IS TRUE AND WHAT IS FALSE
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BELIEF
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ENDURING CONCEPT OF WHAT IS GOOD AND BAD, RIGHT AND WRONG
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VALUE
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THE ELEMENT OF THE SELF REFLECTED IN ALL OF THE THINGS YOU OWN
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MATERIAL SELF
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YOUR CONCEPT OF SELF AS DEVELOPED THROUGH YOUR PERSONAL SOCIAL INTERACTIONS WITH OTHERS
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SOCIAL SELF
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YOUR CONCEPT OF SELF BASED OF YOUR THOUGHTS AND INTROSPECTIONS ABOUT YOUR VALUES AND MORAL STANDARDS
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SPIRITUAL SELF
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AN IDENTITY YOU ASSIGN TO YOURSELF AND ACT OUT
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AVOWED IDENTITY
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AN IDENTITY ASIGNED TO YOU BY OTHERS
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ASCRIBED IDENTITY
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THE HUMAN ABILITY TO THINK ABOUT WHAT YOU ARE DOING WHILE YOU ARE DOING IT
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SELF REFLEXIVENESS
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YOUR ASSESMENT OF YOUR WOTH OR VALUE AS REFLECTED IN YOUR PERCEPTION OF SUCH THINGS AS UOUR SKILLS, ABILITIES, TALENTS, AND APPERANCE
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SELF ESTEEM
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THE BIOLOGICAL AND PHUSIOLOGICAL CHARACTERISTICS THAT MAKE A PERSON MALE OF FRMALE
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SEX
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A CULTURAL CONSTRUCTION THAT INCLUDES ONES BIOLOGICAL SEX, PHYCHOLOGICAL CHARACTERISTICS ATTITUDES ABOUT THE SEXES AND SEXUAL ORIENTATION
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GENDER
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PROCESS OF COMPARING ONESELF TO OTHERS TO MEASURE ONES WORTH IN RELATIONSHIP TO OTHERS WHO ARE SIMILAR
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SOCIAL COMPARISON
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GOALS TOR SER FOR YOURSELF, HOW YOU BELIEVE YOU OUGHT TO BEHAVE AND WHAT YOU OUGHT TO ACCOMPLISH
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SELF EXPECTATIONS
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THE NOTION THAT PREDICTIONS ABOUT ONES FUTURE ARE LIKELY TO COME TRUE BECAUSE ONE BELIEVES THAT THEY WILL COME TURE
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SELF FULFILLING PROPHECY
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THE AROUSAL OF ANY OF YOUR SENSES
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PERCEPTION
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THE ACT OF PERCEIVING THE STIMULI IN YOUR ENVIRONMENT
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ATTENTION
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THE ACT OF CHOOSING SPECIFIC STIMULI IN YOUR ENVIRONMENT TO FOCUS ON
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SELECTION
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CONVERTING INFO INTO CONVENIENT, UNDERSTANDABLE, AND EFFICIENT PATTERNS THAT ALLOW US TO MAKE SENSE OF WHAT WE HAVE OBSERVED
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ORGANIZATION
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PERCEPTUAL PROCESS OF FILLING IN MISSING INFO
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CLOSURE
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ATTACHING MEANING TO WHAT IS ATTENDED TO, SELECTED, AND ORGANIZED
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INTERPRETATION
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SYSTEM OF SYMBOLS (WORDS OR VOCAB) STRUCTURED BY RULES (GRAMMAR) AND PATTERNS (SYNTAX) COMMON TO A COMMUNITY OF PEOPLE
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LANGUAGE
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A WORD SOUND GESTURE OR VISUAL IMAGE THAT REPRESENTS A THOUGHT CONCEPT OBJECT OF EXPERIENCE
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SYMBOL
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A PERSONS INTERPRETATION OF A SYMBOL
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MEANING
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A COMMUNICATION PROBLEM THAT ARISES WHEN THE SAME WORDS MEAN DIFFERENT THINGS TO DIFFERENT PEOPLE
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BYPASSING
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RESTRICTIVE, OR LITERAL, MEANING OF A WORD
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DENOTATIVE MEANING
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PERSONAL AND SUBJECTIVE MEANING OF A WORD
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CONNOTATIVE MEANING
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MEANING THAT REFERS TO SOMETHING THAT CAN BE PERCEIVED WITH ONE OF THE SENSES
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CONCRETE MEANING
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MEANING THAT REFERS TO SOMETHING THAT CANNOT BE PERCEIVED OR EXPERIENCED WITH ONE OF THE SENSES
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ABSTRACT MEANING
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A LEARNED SYSTEM OF KNOWLEDGE, BEHAVIOR, ATTITUDES, BELIEFS, VALUES, RULED, AND NORMS THAT IS SHARED BT A GROUP OF PEOKE AND SHAPED FROM ONE GENERATION TO THE NEXT
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CULTURE
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THE TENDENCY TO DESCRIED THINGS IN EXTREMES, AS THOUGH NO MIDDLE GROUND EXISTS
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POLARIZATION
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A WORD BARRIER CREATED THROUGH THE USE OF LANGUAGE THAT REFLECTS UNQUALIFIED, OFTEN UNTRUE GENERALIZATIONS THAT DENY INFIIFUAL DIFFERENCES OF VARIATIONS
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ALLNESS
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LANGUAGE THAT REVEALS BIAS IN FAVOR OF ONE SEX AND AGAINST ANOTHER
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SEXIST (EXCLUSIVE)
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LANG THAT REVEALS AN ASSUMPTION THAT THE WOLD IS HETEROSEXUAL, AS ID HOMOSEXUALITY OR BISEXUALITY DOESNT EXIST
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HETEROSEXIST LANGUAGE
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LANG THAT OVERTLY DENIGRATES PERSONS OF THE NON-HETEROSEXUAL ORIENTATIONS, USUALL ARISING OUT F A FRAR OF BEING LABELED GAY OR LESBIAN
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HOMOPHOBIC LANGUAGE
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GENERAL RERMS THAT STAND FOR ALL PERSONS OR THINGS WITHIN A GIVEN CATEGORY
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GENERIC LANGUAGE
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A FORM OF LANG THAT AROUSES STRONG EMOTIONS IN LISTENERS
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TRIGGER WORD
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LANG THAT CREATES A CLIMATE OF TRUST, CARING, AND ACCEPTANCE
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SUPPORTIVE COMMUNICATION
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LAND THAT CREATES A CLIMATE OF HOSTILITY AND MISTRUST
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DEFENSIVE COMMUNICATION
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THE ABILITY TO UNDERSTAND AND FEEL WHAT ANOTHER PERSON IS FEELING
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EMPATHY
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SOMEONE WHO CONSIDERS AND ADAPTS TO THE AUDIENCE AT EVERY SRAGE OF THE PRESENTATIONAL SPEAKING PROCESS
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AUDIENCE CENTERED PRESENTATIONAL SPEAKER
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ALSO KNOWN AS STAGE FRIGHT, ANXIETY ABOUT SPEAING IN PUBLIC THAT IS MANIDESTED IN PHYSIOLOGICAL SYMPTOMS SUCH AS RAPID HEARTBEAT, BUTTERFLIES IN THE STOMACH, SHAKING KNEES AND HANDS, QUIVERING VOICE AND INCREASED PERSPIRATION
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SPEAKER ANXIETY
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THE BROAD REASON FRO GIVING A PRESENTATION TO INFORM, TO PERSUADE, OR TO ENTERTAIN AND AUDIENCE
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GENERAL PURPOSE
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A CONCISE STATEMENT OF WHAT LISTENERS SHOULD BE ABLE TO DO BY THE TIME THE SPEAKER FINISHES THE PRESENTATION
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SPECIFIC PURPOSE
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A DIMINUTIVE POINT ABOUT A TOPIC
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CENTRAL IDEA
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VERBAL OR CISUAL MATERIAL THAT CLARIFIES, AMPLIFIES, AND PROVIDES EVIDENCE TO SUPPORT THE MAIN ISEAS OF A PRESENTATION. VERBAL SUPPORT INCLUDES ILLUSTRATIONS EXPLANATIONS, DESCRIPTIONS, DEFINITIONS, ANALOGIES, STATISTICS, AND OPINIONS, CISUAL SUPPORT INCLUDES OBJECTS CHARTS, GRAPHS, POSTERS MAPS MODELS GRAPHICS, AND OTHER PRESENTATION AIDS
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SUPPORTING MATERIAL
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AN INTERNET SITE THAT OFFERS THE USER EVER MORE SPECIFIC CATEGORIES THROUGH WHICH TO SEARCH THE WORLD WIDE WEB
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DIRECTORY
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ORGANIZATION BY A TIME OR SEQUENCE
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CHRONOLOGICAL ORGANIZATION
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ORGANIZATION DETERMINED BY THE SPEAKERS DISCRESSION OR BY RECENCY, PRIMACY, OR COMPLEXITY
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TOPICAL ORGANIZATION
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THE PRINCIPAL THAT AUDIENCES REMEMBER BEST WHAT THEY HEAR LAST, WHICH GUIDES THE ARRANGEMENT OF IDEAS FROM THE LEAST TO THE MOST IMPORTANT
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RECENCY
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ARRANGING IDEAS FROM THE STRONGEST OR LEAST CONTROVERSIAL TO THE WEAKEST OR MOST CONTROVERSIAL
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PRIMACY
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ARRANGING IDEAS FROM SOMPLE TO MORE COMPLEX
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COMPLEXITY
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ORGANIZATION ACCORDING TO LOCATION, POSITION, OR DIRECTION
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SPATIAL ORGANIZATION
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ORGANIZATION BY DISCUSSING A SITUATION AND ITS CAUSES OR A SITUATION AND ITS EFFECTS
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CAUSE AND EFFECT ORGANIZATION
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ORGANIZATION BY DISCUSSING FIRST A PROBLEM AND THEN CARIOUS SOLUTIONS
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PROBLEM AND SOLUTION ORGANIZATION
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ORGANIZATION FROM SPECIFIC INFO TO A MORE GENERAL STATEMENT, OR FROM A GENERAL STATEMENT TO SPECIFIC INFO
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SPECIFICITY
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HYPOTHETICAL ILLUSTRATIONS, DESCRIPTIONS, EXPLANATIONS, DEFINITIONS, ANALOGIES, AND OPINIONS
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SOFT EVIDENCE
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FACTUAL EXAMPLES AND STATISTICS
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HARD EVIDENCE
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A VERBAL OR NONVERBAL ORGANIZATIONAL SIGNAL
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SIGNPOST
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A STATEMENT OF WHAT IS TO COME
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PREVIEW
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FIRST STATEMENT OF THE MAIN IDEAS OF A PRESENTATION, USUALLY PRESENTED WITH OR NEAR THE CENTRAL IDEA
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INITIAL PREVIEW
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PREVIEW WITHIN THE SPEECH THAT INTRODUCES IDEAS STILL TO COME
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INTERNAL PREVIEW
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A WORD, PHRASE, OR NONVERBAL CUE THAT INDICATES MOVEMENT FROM ONE IDEA TO THE NEXT OR FTHE RELATIONSHIP BETWEEN IDEAS
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TRANSITION
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A WORD OR PHRASE THAT INDICATES THE RELATIONSHIP BETWEEN TWO IDEAS
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VERBAL TRANSITION
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FACIAL EXPRESSION, VOCAL CUE, OR PHYSICAL MOVEMENT THAT INDICATES A SPEAKER IS MOVING FROM ONE IDEA TO THE NEDXT
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NONVERBAL TRANSITION
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A RECAP OF WHAT HAS BEEN SAID
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SUMMARY
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A RECAP OF WHAT HAS BEEN SAID SO DAR IN THE PRESENTATION
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INTERNAL SUMMARY
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A RECAP OF ALL THE MAIN POINTS OF A PRESENTATION, USUALLY OCCURRING JUST BEFORE OR DURING THE CONCLUSION
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FINAL SUMMARY
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OPENING LINES OF A PRESENTATION, WHICH MUIST CATCH THE AUDIENCES ATTENTION AND INTRODUCE THE SPEAKERS TOPIC
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INTRODUCTION
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THE CLOSING LINES OF A PRESENTATION, WHICH LEAVE A FINAL IMPRESSION
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CONCLUSION
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THE SENCE THAT A PRESENTATION "SOUNDS FINISHED"
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CLOSURE
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DETAILED OUTLINE OF A PRESENTATION THAT INCLUDES MAIN IDEAS, SUB-POINTS, AND SUPPORTING MATERIAL, AND THAT MAY ALSO INCLUDE SPECTIC PURPOSE, INFRODUCTION, BLUEPRINT, INTERNAL PREVIEWS AND SUMMARIES, TREASITIONS, AND CONCLUDION
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PREPARATION OUTLINE
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CONVENTIONAL USE OF NUMBERED AND LETTERED HEADINGS AND SUB HEADING TO INDICATE THE RELATIONSHIPS AMOONG PARTOS OF A PRESENTATION
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STANDARD OUTLINE FORMAT
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PROVIDE ALL OF THE NOTES TO MAKE YOUR PRESENTATION GO AS PLANNED WITHOUT BEING TEMPTED TO READ IT
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DELIVERY OUTLINE
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A REMINDER OF HOW TO SPEAK OR MOVE DUEING A PRESENTATION, WHICH IS OFER WRITTEN ON A SPEAKERS NOTE CARDS
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DELIVERY CUE
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READING A PRESENTATION FROM A WRITTEN TEXT
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MANUSCRIPT SPEAKING
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DELIVERING A PRESENTATION WORD FRO WORD FROM MEMORY WITHOUT USING NOTES
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MEMORIZED SPEAKING
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DELIVERING A PRESENTATION WITHOUT ADVANCE PREPARATION
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IMPROMPTU SPEAKING
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SPEAKING FROM A WRITTEN OR MEMORIZED OUTLINE WITHOUT HAVING MEMORIZED THE ECXACT WORKING OF THE PRESENTATION
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EXTEMPORANEOUS SPEAKING
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A WORD THAT REGERS TO AN OBJECT OR DESCRIBES AN ACTION OR CHARACTERISTIC IN THE MOST SPECIFIC WAY POSSIBLE
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CONCRETE WORD
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A WORD THAT DOES NOT STEREOTYPE, DISCRIMINATE AGAINST, OR INSULT ANY SEXUAL, RACIAL, CULTURAL, OR RELIGIOUS GROUP
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UNBIASED WORD
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A COLORFUL WORD
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VIVID WORD
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A WORD THAT MEANS WHAT THE SPEAKER INTENDS AND IS GRAMMATICALLY CORRECT IN THE PRASE OR SENTENCE IN WHICH IT APPEARS
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CORRECT WORD
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LANGUAGE THAT DEVIATES FROM THE ORDINARY, EXPECTED MEANING OF WORDS TO MAKE A DESCRIPTION OR COMPARISON UNIQUE, VIVID, AND MEMORABLE
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FIGURATIVE LANGUAGE
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AN IMPLIED COMPARISON BETWEEN TWO THINGS
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METAPHOR
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AN OVBERY COMPARISON BETWEEN TWO THINGS THAT USES THE WORD LIKE OR AS
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SIMILE
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THE ATTRIBUTION OF HUMAN QUALITIES TO INANIMATE THINGS OR IDEAS
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PERSONIFICATION
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PHRASING SOMETHING IN A WAY THAT DIFFERS FROM THE WAY THAT THE AUDIENCE EXPECTS
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DRAMA
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LEAVING OUT A WORD OR A PHRASE THE AUDIENCE EXPECTS TO HEAR
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OMISSION
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REVERSING THE NORMAL WORD ORDER OF A PHRASE OF SENTENCE
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INVERSION
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WITHHOLDING A KEY WORD OR PHRASE UNTIL THE END OF A SENTENCE
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SUSPENSION
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THE RYTHM OF LANGUAGE
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CADENCE
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USING THE SAME GRAMMATICAL STRUCTURE TOF TWO OR MORE CLAUSES OR SENTENCES
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PARALLELISM
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A TWO PART PARALLEL STRUCTURE IN WHICH THE SECOND PART CONTRASTS IN MEANING WIOTH THE FIRST
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ANTITHESES
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EMPHASIZING A KEY WORD OR PHRASE BT USING IT MORE THAN ONCE
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REPETITION
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THE REPETITION OF A CONSONANT SOUND (USUALLY THE FIRST CONSONANT) SEVERAL TIMES IN A PHRASE, CLAUSE, OR SENTENCE
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ALLITERATION
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A PERSONS GESTURES, MOVEMENT, AND POSTURE, WHICH INFLUENCE HOW A MESSAGE IS INTERPRETED
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PHYSICAL DELIVERY
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MOVEMENT OF THE HANDS AND ARMS TO COMMUNICATE IDEAS
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GESTURES
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CHANGE OF LOCATION DURING A PRESENTATION
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MOVEMENT
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NONVERBAL VOICE ELEMENTS INCLUDING VOLUME, PITCH, RATE, AND ARTICULATION
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VOCAL DELIVERY
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THE SOFTNESS OR LOUDNESS OF A SPEAKERS VOICE
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VOLUME
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HOPW HIGH OR LOW A SPEAKERS VOICE IS
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PITCH
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VARIATION IN COVAL PITCH
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INFLECTION
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HOW FAST OR SLOWLY A SPEAKER SPEAKS
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RATE
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A FEW SECONDS OF SILENCE DURING A PRESENTATION, CAN BE USED BOH TO SLOW A FAST PACE AND TO SIGNAL A KEY IDEA
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PAUSE
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THE PRODUCTION OF CLEAR AND DISTINCT SPEECH SOUNDS
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ARTICULATION
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A CONSISTENT STYLE OF PRONUNCIATION AND ARTICULATION THAT IS COMMON TO AN ETHNIC GROUP OF GEOGRAPHIC REGION
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DIALECT
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