Professional Documents
Culture Documents
COMMUNICATION
o dynamic, systematic or contextual, irreversible and proactive process in which com-
municators construct personal meanings through their symbolic interactions (Wood
1964)
MODEL
o describes an object, event, process or relationship
o attempts to represent the essential or major features to describe the communication
process
COMMUNICATION MODEL
o describe the communication process—how it works
WHY STUDY MODELS?
o provide a schema for understanding various phenomena
a good model presents the essential nature of what it describes and highlighting
key features thought important by the model builder
any model of communication will select certain features and “freeze” them for
closer scrutiny
o visualizes for us how certain features are related to one another, and provides a more
orderly understanding than we might have without a model
o organizing value
o heuristic in nature
models that provoke insights thought with its insights can lead to scholars to gen-
erate concepts and theoretical frameworks
COMMUNICATION MODELS
KEY ELEMENTS/
MODEL PERSON PATTERN DESCRIPTION
PROCESS
premium on persuasion to his audience (“ethos”)
factors mentioned in Artistotle’s Ars Rhetorica which
speaker determine the persuasiveness of a speaker’s mes-
one-way
ARISTOTLE Aristotle (Greeks) message sage:
sequential/linear
audience o content, arrangement, manner of delivery
o ethos, arguments, logos, pathos (modes of per-
suasion)
speaker delivering a message through a channel of
communication to another with such impact
speaker three key functions of communication in human so-
message ciety: surveillance, correlation, transmission
one-way
LASSWELL Harold Lasswell channel communication must perform its key functions to pro-
sequential/linear
receiver tect, fortify, and enhance a nation’s stability
effect country is responsible for consolidating its strengths
by controlling the forces that interfere with efficient
communication
information
source originally designed for telephone communication
depicts noise as an element found only within the
Claude Elwood Shannon one-way transmitter
SHANNON-WEAVER message and not throughout the communication
Warren Weaver sequential/linear receiver
process
destination
transmitter, receiver, and noise are mechanical
noise
one-way source
SCHRAMM (Model 1) similar to Lasswell’s
sequential/linear encoder
signal
one-way
decoder importance of an overlap of communicator’s fields in
SCHRAMM (Model 2) sequential/linear
overlapping destination order that communication can occur
Wilbur Schramm decoder dual role of each communicator in that he is both
SCHRAMM (Model 3) dual roles interpreter sender and receiver, and that both encoding and de-
encoder coding entail personal interpretation
decoder
heuristic insight: emphasizes the dynamism of hu-
interpreter
SCHRAMM (Model 4) constant cycle man communication
encoder
captures the notions of process and interactions
message
source source and receiver are influenced by their personal
makeup of three factors: knowledge, attitude, com-
message
BERLO David Berlo -- munication skills
channel
o fourth factor: sociocultural system of the commu-
receiver nicators
communicator’s message concerns the following:
message consent, communicator’s treatment, cod-
ing of content
channels of communication or the means by which
how the element is shared: five senses (seeing,
hearing, touching, smelling, tasting)
o proves that perception is a key in communication
acknowledges the complexity of the communication
process as evidenced by the influence of several fac-
tors on communication, to include an all-encompass-
ing system—the communicator’s sociocultural
framework
thinking
symbolizing implies a step-by-step sequence of events that starts
expressing with thinking in the mind of the speaker and ends
transmitting with monitoring also by the speaker
WHITE Eugene White sequence/cycle
receiving communication is a repetitive, cyclical event but the
decoding dynamic quality of interaction is not depicted
feedbacking speaker: originator, listener: passive reactor
monitoring
helix: depicts the process of communication as one
that progresses or moves forward in cyclical fash-
ion—moving forward bur coming back upon itself
o symbol of dynamics of human communication is
visually powerful
spiral moving in progressively larger spheres as it
circular/spiral
DANCE Frank Dance none goes upwards: signifies the dynamic quality of hu-
(helix)
man connection in that what has occurred before in-
fluences what we say now
continuum of human events: serves as a backdrop
for all human interaction
circular, but grows bigger because we learn more
about each other
time dynamic, systematic process to which communica-
personal sys- tors construct personal meanings through their sym-
tems bolic interactions
phenomenal communicators are linked together by their symbolic
SYMBOLIC INTERAC- world interactions
Julia Wood
TION MODEL symbolic inter- o interactions may be either sequential or simulta-
action neous since no directions are specified
communica- a given interaction evolves out of earlier interactions
tion con- and is influenced by previous encounters as well as
straints the present situation
shared sys- over time, the shared world between communicators
tems is enlarged
over time, learn each other’s values, beliefs, atti-
tudes, predispositions to situations, moods, and in-
terests
over time, people also learn to use common symbols
to designate ideas, concepts, perceptions, rituals,
and expectations
shared experiences may lead to a greater under-
standing between communicators
communication that enables people to build shared
worlds
there’s interrelation between systems
the model emphasizes the communicator’s personal
construction of meanings through his individual phe-
nomenal world
features constraints
speaker
message
listeners
SPEECH COMMUNI-
feedback
CATION TRANSAC- Bruce Gronbeck et al cycle premised on speechmaking
TION MODEL channel
situation
cultural con-
text