Instructions:1. After reading chapter 4, write-up your responses.
2. Submit your reading reflection as a .pdf in Moodle.
Reflection questions:
What was the most meaningful, interesting, or significant thing you learned from this chapter?
Next, answer one of the following:For this assignment you have three options. Please select one and clearly indicate in your assignment which one you selected.Option 1 Keep a distraction log for one full day. Keep track of each instance in which your attention strays. Identify the topic and situation from which it strayed and the subject that it strayed to. Can you identify any commonalities or clues to the cause of your being distracted from listening?Option 2 What examples of ineffective listening have you experienced in the past week? Describe these examples. What could have been done to avoid these situations?
READING REFLECTION CHAPTER 4
Instructions:
1.
2.
After reading chapter 4, write-up your responses to one of the options below.
Submit your reading reflection as a .pdf in Moodle.
Reflection questions:
1.
What was the most meaningful, interesting, or significant thing you learned
from this chapter?
Next, answer one of the following:
For this assignment you have three options. Please select one and clearly indicate
in your assignment which one you selected.
Option 1
Keep a distraction log for one full day. Keep track of each instance in which your
attention strays. Identify the topic and situation from which it strayed and the
subject that it strayed to. Can you identify any commonalities or clues to the
cause of your being distracted from listening?
Option 2
What examples of ineffective listening have you experienced in the past week?
Describe these examples. What could have been done to avoid these situations?
Option 3
Think about one of your most important relationships (family, friend, romantic, etc.).
•
Which faulty listening behaviors do you find most annoying?
(See Moodle Week 5 “Faith’s Listening Notes for the faulty listening behaviors).
•
•
•
What would the other person say about your most annoying listening
faults?
In what ways would you like to improve your listening skills with that
person?
What effects do you think this will have on the relationship?
Communication
A Critical/Cultural
Introduction
Deanna L. Fassett | John T. Warren | Keith Nainby
COMMUNICATION
A Critical/Cultural Introduction
•
CHAPTER 4: COMPASSIONATE CRITICAL LISTENING
Overview
•
Distinguish hearing from
listening
•
Explore listening as a
stance that is shaped by
context, individual
experience, and cultural
expectations
•
Explore listening as dialogic
engagement
•
Consider listening as a
means of learning
We Live in a World Where We Are
Surrounded by Sound
● Generally speaking, hearing is a
physiological act in which sounds vibrate
our eardrums.
○ We usually take these sounds for
granted
○ Therefore viewing hearing as a passive
act
● Listening is, generally, a practice that
requires our active attention and focus.
○ Words are absorbed, they don’t ‘pass
through one ear and out the next’.
Beyond Hearing: Listening as Stance
● We might begin to develop a more complex
and inclusive understanding of listening if we
think of listening as a stance or an approach
to experience rather than as simply a matter
of hearing or listening in ways that are
passive or active or as skills in need of
development.
○ Account for the ways contexts, individual
experiences, and cultural expectations
might shape our listening.
○ Move away from thinking of listening
exclusively in terms of the physiological
act of hearing
Modes of Listening
•
•
•
Helps us consider the ways context,
personal experience, and cultural
expectations might shape the way we
engage as listeners.
Clarifies the notion of listening as a stance
by pointing to the ways our relationship
as listeners is always shaped by the
contexts of the listening situation.
– our individual position as listeners
– cultural locations
For example, the mode of listening and
engagement you choose to use in the
classroom is one that you’ve learned and
developed in order to navigate your
classes in ways that you find meaningful.
The Custodian’s Rip-Off
● Created by Dwight Conquergood
● The danger represented by this pitfall is
engaging with the other for selfish
reasons (p. 5).
○ Rather than trying to engage and
understand other the performer
who falls into this trap, or takes
this stance, is more interested in
how they might personally benefit
from engaging with the other.
● Closes down the opportunity for
dialogical performance by not sincerely
considering the perspectives and
differences of others.
The Enthusiast’s Infatuation
● The danger of this stance is that the
differences of the other are
superficially oversimplified or ignored
(p. 6).
○ As Conquergood explains, “This
performative stance is unethical
because it trivializes the other.
The distinctiveness of the other is
glossed over by a glaze of
generalities” (p. 6).
● In terms of listening, “The
Enthusiast’s Infatuation” is
characterized by a listening stance in
which we only hear the similarities we
share with others.
The Curator’s Exhibitionism
● Unlike the “Enthusiast’s Infatuation,”
this stance focuses almost
exclusively on the differences of
others.
○ In this stance, differences are
exotic and strange.
● The performer then puts these
differences on display, not unlike a
museum exhibition, for the purpose
of entertainment and amusement.
● “The manifest sin of this quadrant is
Sensationalism, and it is an immoral
stance because it dehumanizes the
other” (p. 7).
The Skeptic’s Cop Out
● Like the “Curator’s Exhibitionism,”
this stance focuses on the difference
of others. However, instead of
displaying or objectifying differences.
○ Those who fall into the pitfall of
“The Skeptic’s Cop-Out” refuse
to engage in any way with those
who are different.
● “Refusal to take a moral stand is
itself a powerful statement of one’s
moral position” (p. 8).
Communication
A Critical/Cultural
Introduction
Deanna L. Fassett | John T. Warren | Keith Nainby
COMMUNICATION
A Critical/Cultural Introduction
•
CHAPTER 4: COMPASSIONATE CRITICAL THINKING
Overview
•
Distinguish hearing from
listening
•
Explore listening as a
stance that is shaped by
context, individual
experience, and cultural
expectations
•
Explore listening as dialogic
engagement
•
Consider listening as a
means of learning
We Live in a World Where We Are
Surrounded by Sound
● Generally speaking, hearing is a
physiological act in which sounds vibrate
our eardrums.
○ We usually take these sounds for
granted
○ Therefore viewing hearing as a passive
act
● Listening is, generally, a practice that
requires our active attention and focus.
○ Words are absorbed, they don’t ‘pass
through one ear and out the next’.
Beyond Hearing: Listening as Stance
● We might begin to develop a more complex
and inclusive understanding of listening if we
think of listening as a stance or an approach
to experience rather than as simply a matter
of hearing or listening in ways that are
passive or active or as skills in need of
development.
○ Account for the ways contexts, individual
experiences, and cultural expectations
might shape our listening.
○ Move away from thinking of listening
exclusively in terms of the physiological
act of hearing
Modes of Listening
•
•
•
Helps us consider the ways context,
personal experience, and cultural
expectations might shape the way we
engage as listeners.
Clarifies the notion of listening as a stance
by pointing to the ways our relationship
as listeners is always shaped by the
contexts of the listening situation.
– our individual position as listeners
– cultural locations
For example, the mode of listening and
engagement you choose to use in the
classroom is one that you’ve learned and
developed in order to navigate your
classes in ways that you find meaningful.
The Custodian’s Rip-Off
● Created by Dwight Conquergood
● The danger represented by this pitfall is
engaging with the other for selfish
reasons (p. 5).
○ Rather than trying to engage and
understand other the performer
who falls into this trap, or takes
this stance, is more interested in
how they might personally benefit
from engaging with the other.
● Closes down the opportunity for
dialogical performance by not sincerely
considering the perspectives and
differences of others.
The Enthusiast’s Infatuation
● The danger of this stance is that the
differences of the other are
superficially oversimplified or ignored
(p. 6).
○ As Conquergood explains, “This
performative stance is unethical
because it trivializes the other.
The distinctiveness of the other is
glossed over by a glaze of
generalities” (p. 6).
● In terms of listening, “The
Enthusiast’s Infatuation” is
characterized by a listening stance in
which we only hear the similarities we
share with others.
The Curator’s Exhibitionism
● Unlike the “Enthusiast’s Infatuation,”
this stance focuses almost
exclusively on the differences of
others.
○ In this stance, differences are
exotic and strange.
● The performer then puts these
differences on display, not unlike a
museum exhibition, for the purpose
of entertainment and amusement.
● “The manifest sin of this quadrant is
Sensationalism, and it is an immoral
stance because it dehumanizes the
other” (p. 7).
The Skeptic’s Cop Out
● Like the “Curator’s Exhibitionism,”
this stance focuses on the difference
of others. However, instead of
displaying or objectifying differences.
○ Those who fall into the pitfall of
“The Skeptic’s Cop-Out” refuse
to engage in any way with those
who are different.
● “Refusal to take a moral stand is
itself a powerful statement of one’s
moral position” (p. 8).

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