1. ________________ is a passive act in which sounds vibrate off our eardrums.
A. Listening
2. _______________ is an active process that requires our active attention and focus.
D. Engaging
3. To develop a more complex and inclusive understanding of listening, the authors’
ask us to consider listening as an approach to the experience or a
A. Position
4. “I don’t hear with my ears, I hear with my whole body. Ears are at the best the
focal organs of hearing.” This statement was expressed by phenomenologist
A. Martin Buber
5. The stance of critical compassionate listening can be illustrated through the
modes of thinking
A. Personal experience
6. Inactive-active-interactive-proactive is also known as a
7. Ingrid Monson define perceptual agency as
A. Our individual position as listeners
8. How we might listen or the agency we have as listeners is always filtered
through and influenced by
A. Framing
9. Dwight Conquergood argues that dialogical performance is
A. “stance or way of relating to others”
10. Conquergood’s first pitfall of listening, ___________________ , is characterized by our
attempts to hear others only as a means of benefitting ourselves.
11. Conquergood’s second ethical danger of listening, ______________ , is unethical
12. Conquergood’s third pitfall of listening, _________, focuses almost exclusively on
the differences of the other – differences are exotic and strange.
A. Custodian’s Rip–Off
13. Conquergood’s fourth ethical danger of listening, _______________, is characterized
by avoidance or a refusal to take a moral stand.
A. Custodian’s Rip–Off
14. College libraries are places where students might go to study or have small
group meetings. With the introduction of laptop computers, libraries have changed
and introduced wireless Internet and more electrical outlets. According to Fassett
and Warren, this is an example of
A. Perceptual agency
15. The audience response, or level of participation in the performance event is
based on convention and set cultural expectations. This is an example of
A. Proactive participation
16. When an audience engages with a performance in such a way that they are
making meanings and connections with the performance, they are considered
A. Proactive participants
17. Pelias and VanOosting explain, “At this point, both performers and audience are
seen as co-producers, each contributing to the artistic event.” This is an example of
A. Proactive participants
18. A blurring of distinction between audience and performer is known as
19. Cronwell and Orbe explain that _______________ requires an awareness o the impact
of culture, privilege, and power on our communication interactions.
20. According to the text, When we engage in dialogic listening, our opportunity for
_______________ increases.
21. __________________ requires an awareness of your position in the world and an
orientation to the other that is open and receptive to different believes, values, and
perspectives.
A. Dialogical listening
22. Modes of listening are shaped or constituted by a variety of
A. Social Factors
23. Stockfelt explains the contextual nature of listening to music in terms of ________
and argues there are multiple modes of listening we might engage.
A. Situation
24. ____________ is a stance or way of relating to others that is informed by a
commitment to working towards genuine understanding.
A. Critical engagement
25. Cornwell and Orbe explain that dialogic listening requires an awareness of the
impact of
26. Framing listening as a stance functions to limit listening to just a way of hearing.
27. How we listen or the agency we have as listeners is always filtered through and
influenced by our cultural locations.
28. Critical compassionate listening emphasizes our responsibility as listeners in
developing our relations to and with others in communication.
29. Engaging in “The Enthusiast’s Infatuation” is an effective way to engage in
listening.
30. Performance scholar, Dwight Conquergood encourages us to engage in dialogical
performance to have a genuine understanding of others.
31. The authors’ argue that hearing and listening are the same process.
32. The authors’ argue that listening should be understood as a full embodied way
of being in the world.
33. Modes of listening are simply strategies we develop and deploy on our own.
34. Contexts shape expectations ow what is considered socially or culturally
appropriate modes of listening.
Type: E
35. Explain what is meant by “listening as a stance.” While doing so, explain how
listening as a stance is related to “the modes of listening.” Why are the modes of
listening important for communicators to understand? Please be as specific as
possible with your answers and provide detailed examples to illustrate your claims.
Type: E
36. Dwight Conquergood introduces us to dialogical performance. Please discuss
Conquergoods’ ideas, including the four ethical pitfalls we may encounter when
listening.
Type: E
37. The author’s introduce us to the differences between hearing and listening.
Please define both terms. Once you have defined the terms, please explain how
listening is a “stance.”