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nonverbal chap3
Gestures
| term | definition | example |
|---|---|---|
| Gestures | often convey a person's true feeling behind his or her words. | |
| Kinesics | the study of the communicative impact of body movement and gesture | head movements, eye behaviors, facial expressions, posture, movements of the trunk, hands, arms, feet, legs and fingers |
| Types of gestures and movements | emblems, illustrators, regulators, affect displays and adaptors. | |
| emblems | speech-independent gestures that have a direct verbal translation, used intentionally, known by entire group | note: the emblem is the action or gesture, the function is substituting |
| types of nonverbal communication | intrinsic, iconic, arbitrary | |
| intrinsic | behaviors that have a direct relationship to biologically shared signal systems | |
| iconic | behaviors linked to a biological system but used purposefully | |
| arbitrary | behaviors created within a social or cultural group | |
| illustrators | help demonstrate what is being said, no meaning without spoken word, usually intentional | |
| 1st category of illustrator-gestures related to speech referent or explanation | movements that illustrate the idea or spoken word | I caught a fish "this big" |
| 2nd category of illustrator-gestures that suggest the sources relationship to the speech referent or explanation | gestures suggest the senders acculturation or attitude to the referent | waving the hand back and forth to say "so-so" or sticking out the tongue as you say "awful" |
| 3rd category of illustrator-gestures that highlight, punctuate or emphasize a spoken word or msg in conversation | raising a finger for each point as we explain it to highlight the idea | |
| 4th category of illustrator-interaction gestures that help the source in organizing, managing or directing the conversation | gestures used in conjunction with speech which signal when it's another persons turn to talk or remain quiet | head, hand, eye or body movements that signal or punctuate speech |
| regulators | movements that illustrate the idea or spoken word | unintentional learned behaviors that become ingrained habits |
| turn-taking behaviors | those that the speaker uses to maintiain or yield her or his talking turn and those that the listener uses to request or decline an invitatio to talk | turn-yielding, turn-maintaining, turn-requesting, turn-denying |
| turn-yielding cues | given by speakers who wish to discontinue talking and give the listener the opportunity to take the speaking role. Letting the listener know you are coming to a verbal stop. | body orientation, forward lean, beckoning gesture |
| turn-maintaining | used by speakers who want to continue talking. especially observable when the listener is trying to interrupt. They indicate that you have more to say. | minimum eye contact, increased rate and loudness of speech, holding up your hand to the listener |
| turn-requesting | used by the listener to signal they want to talk | raise hand or finger, straightening of posture |
| turn-denying | listeners use to decline their turn to speak | relaxed posture while remaining silent, positive head nods, |
| affect displays | provide information about a person's emotional state or mood | shown through facial expressions, posture, walk, and other behavior |
| Adaptors | Highly unintentional behaviors that are in response to boredom or stress | |
| self-adaptors | nonverbal acts in which an individual manipulates their own body | nail biting, scratching, rubbing, hair twisting |
| alter-directed adaptors | movements that are designed to protect an individual from other interactants | folding arms in front of self, unconscious leg movements |
| object-focused adaptors | unconscious manipulation of an object | tapping a pen, smoking, twisting a ring around your finger |
| communication styles | the way a person verbally and nonverbally interacts to signal how literal meaning should be taken, interpreted, filtered or understood in the communication process | dramatic, dominant, animated, relaxed, attentive, open, friendly, contentious, impression-leaving |
| dramatic style | masters of exaggeration, tells a lot of stories | use of illustrative behaviors. popularity, attractiveness and status are enhanced by this style |
| dominant style | uses nonverbal cues to dominate listeners | expansive body posture and movements that fill space. seen as confident, conceited, self-assured, competitive, forceful, active and enthusiastic |
| animated style | exaggerated bodily motions and gestures | frequent head nods and smiles |
| relaxed style | collected and calm internally in anxiety producing situations | lack of tension in the body indicates self-assurance |
| attentive style | listening to or receiving messages from others | active listening, forward leaning, head nods and gestures that encourage the speaker to continue. it's all about the other person |
| open style | expansive, unreserved, extroverted and approach- oriented bodily activity | encourages open communication |
| friendly style | absence of hostility to signals of deep intimacy | forward leaning, affectionate, touching, stroking manner |
| contentious style | aggressive dominance | argumentative, they sound like they want to fight |
| impression-leaving style | impression a communicator projects or leaves | not just how the person is remembered, but whether they leave an impression at all |
Created by:
schaunag
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