THE 'SELF' IN HUMAN COMMUNICATION

The self-concept and how it develops self-awareness,

self-esteem and ways to enhance self-disclosure, 

1.SELF-CONCEPT

Your self-concept is your image of who you are. It’s how you perceive yourself: your feelings and thoughts about your strengths and weaknesses, your abilities and limitations. Self-concept develops from the images that others have of you, comparisons between yourself and others, your cultural experiences, and your evaluation of your own thoughts and behaviors

  

1.Others’ Images of You

If you want to see how your hair looks, you probably look in a mirror. But you wanted to see how friendly or how assertive you are? you’d look at the image of yourself that others reveal to you through the way they communicate The self is perhaps the most important element in any form of communication of who you are.

 

2.Comparisons with Others

Another way you develop self-concept is by comparing yourself with others, most often with your peers

For example, after an exam, you probably want to know how you performed relative to the other students in your class. This gives you a clearer idea of how effectively you performed.

 

3.Cultural Teachings

In Our culture instills in us a variety of beliefs, values, and attitudes about such things as success religion, race, or nationality; and the ethical principles you should follow in your personal life. These teachings provide yardsticks against which you can measure yourself.

 

4. Self-Interpretations and Self-Evaluations

you believe that lying is wrong. If you then lie and you view it as a lie  you will probably evaluate this behavior in terms of your internalized beliefs about lying (lying is On the other hand, let’s say that you pull someone out of a burning building at great personal risk. You will probably evaluate this behavior positively; you’ll feel good about this behavior and, as a result, about yourself.

 

 

2.    SELF-AWARENESS

Self-awareness—your knowledge of who you are; of your behaviors, your strengths and limitations, your emotions and behaviors, your individuality—is basic to all communication. One tool that is commonly used for this examination of self-awareness is called the Johari window. 

 

Johari Window: A diagram called the Johari Window (above) provides a useful way to graphically visualize the process of self-disclosure. The four quadrants of panes represent the different ways information can be seen and observed, both by oneself and by others. The open pane includes what everyone can see: your physical looks, occupation, economic and social situation, as well as what you say and write. The hidden pane includes information about yourself that you have not revealed to others: secrets, hopes, fantasies. The blind pane is what others see in you that you cannot see: shortcoming, talents, faults. Finally, the unknown pane includes information that nobody yet knows: untapped potential, undiscovered interests. 

Four Selves

The Johari window shows different aspects or versions of the self. The four aspects are the open self, blind self, hidden self, and unknown self.

 

Open self. This self represents all the information, behaviors, attitudes, and feelings about yourself

that you know and that others also know. Such knowledge could include everything from your name, skin color, sex, and age to your religion and political beliefs.

 

Blind self.

 This self represents knowledge about you that others have but you don’t.  Blind self

might include your habit of finishing other people’s sentences or your way of rubbing your nose when

you become anxious. A large blind self indicates low self-awareness.

 

Unknown self.

The unknown self represents those parts of yourself that neither you nor others know. This is information that is buried in your subconscious. for example, learn of your obsession with money, your fear of criticism

.

Hidden self. This self represents all the knowledge

you have of yourself but keep secret from

others.

for example, your fantasies, embarrassing experiences, and any attitudes

or beliefs of which you may be ashamed.

 

Growing in Self-Awareness

 

SELF-AWARENESS is so important in communication, try to increase awareness of your own needs, desires, habits, beliefs, and attitudes. We can do this in various ways.

Listen to others. Others are constantly giving you the very feedback you need to increase self-awareness.  

Increase your open self. Revealing yourself to others will help increase your self-awareness.

Seek information about yourself. Encourage people to reveal what they know about you.

Dialogue with yourself. No one knows you better than you know yourself. Ask yourself self awareness questions: What are my short-term and long-term goals? What are my strengths and weaknesses?

 

3. SELF-ESTEEM

Self-esteem is a measure of how valuable you think you are; people with high self-esteem think very highly of themselves, whereas people with low self-esteem view themselves negatively.  Here are five suggestions for increasing self-esteem.

 

1.Attack Self-Destructive Beliefs: Challenge beliefs you have about yourself that are unproductive or that make it more difficult for you to achieve your goals.

2.Self-destructive beliefs set unrealistically high standards and therefore almost always lead to failure.

3.Seek Out Nourishing People: Most important, nourishing people reward us, they stroke us, they make us feel good about ourselves.

4. Work on Projects That Will Result in Success: Select projects that will result in success. Each success will help build self-esteem.

5.Remind Yourself of Your Successes: Some people have a tendency to focus, sometimes too much, on their failures, their missed opportunities, their social mistakes. Recall these successes both intellectually and emotionally

6.Secure Affirmation: The word affirmation is used to refer to positive statements about you, statements asserting that something good or positive is true of you.

 

4.SELF-DISCLOSURE

 Self-disclosure is a type of communication in which you take information from your hidden self and move it to the open self.

 

Factors Influencing Self-Disclosure

 Among the most important factors are who you are, your culture,

your gender, your listeners, and your topic and channel. Self-Disclosure Dangers

Among the dangers of self-disclosure are:

Personal risks.

Relationship risks.

Professional risks.

 

Read More

Company Drama!

Drama companies operating in the Madras Presidency was dominated as the popular entertainment before the advent of the cinema in South India.  It introduces a comparatively new cultural phenomenon in South India. Prior to the emergence of the“company drama” a form of popular theater existed. But it was in a disorganized and impoverished state as the result of a lack of support.

The formation of travelling theater companies began after a few Parsi and Marathitheatre groups had toured the Presidency. These companies borrowed the convention of the proscenium stage, the drop curtain, painted backdrops, and other technical and ornamental accessories that went with the modern stage, from the British theater tradition. Newcomers to the field of theatre in Maharashtrabrought with them elements from the local folk theatre, such as a back-stage singer and comical interludes. These elements, too, were incorporated into the performances by the newly formed Marathi and Parsi theatre troupes. These troupes performed in a style which historians of the stage have referred to as “company drama.

The harmonium, an instrument of European origin, was introduced into South India through the Parsi theatre. It became an important component of the stage music, and the symbol of the “company drama”. In addition to introducing the proscenium stage and the backdrops, the new drama companies demonstrated for the first time that the performance of drama shows could be a sound commercial proposition and could be run as a business. The admission tickets provided this form of entertainment with a reasonably sound commercial base.

T.R. Govindasamy Rao, a clerk in a police station in Thanjavur, founded one of the earliest drama companies in Tamil Nadu. He had watched the Maharashtra Sangili Company stageplays in the Thanjavur palace. This inspired him to form his own troupe modelled on a pattern similar to that of the Marathi troupe. He founded the Original Manamohana Nataka Company and resigned his job when the company’s plays became a commercial success. Rao travelled with his troupe toother towns, such as Tiruchi and Tirunelveli, and started a new theatre movement. After afew years, several artists trained in this company left to form their own companies.

Soon a number of companies was operating in the Madras Presidency, the “vathiyar” the actors, and the musicians lived together and travelled from town to town. A troupe stayed in a place for one month or longer to perform. Watching “company dramas”became a popular pastime for the public. Permanent drama halls were built in many towns .

‘In 1910, Sankara Das Swamigal, a playwright and a“vathiyar”, formed one of the earliest boys companies, the Samarasa Sanmarga Sabha. Boys companies’ or drama troupes composed of young boys were formed. Boys below the age of twelve, whose voices had not yet broken, were recruited by these companies. The printing press facilitated the spread of the “company drama. Songs were brought out in book form. Bills bearing details of a play were printed and distributed.

From 1873to 1900, at least two hundred and eighty-six plays were published. In the 1910s, there waseven a Tamil magazine, “Nadagabimani”, which was exclusively devoted to the subject of drama. The arrival of the gramophone was yet another major factor in the strengthening of the vibrant tradition of popular theatre. Many well-known actors from the drama companies,including Rukmini Bala, S.G. Kittappa, T.M. Kadar Badsha, and S.V. Subbaiya Bhagavathar,recorded songs on discs. The same songs recorded for gramophone were also printed and published as songbooks.

 The advent of electricity by the turn of the century provided  the growth of the company drama culture. Though most of the companies used only gas lights, some well-run troupes had access  to electricity. 

Plays staged by the Original Parsi VictorianTheatrical Troupe of Bombay, inspired G.C.V Srinivasachari, a schoolteacher, to found The Madras Oriental Dramatic Company in 1875. This company performed plays translated from the Sanskrit literature. In 1880 Srinivasachari produced Shakuntala in a Tamil translation, in which he himself played a role. 

Pammal Sambanda Mudaliyar, a member of the judicial service, formed an amateur dramatic club in Madras, the Suguna Vilasa Sabha, in 1891.  C.P. Ramasamy Ayyer, the mayor of Madras and later the Diwan of Travancore, and R.K. Shanmugam Chettiar, who was to become the first finance minister of independent India, were part of this group. The Emmanuel Drama Club founded in Madras was modelled on the Suguna Vilas Sabha(Sambanda Mudaliyar 1932, 23). Involvement in the theatre came to be considered by the elite to be a fit engagement for persons with a Western education. 

Drama troupes, such as the Suguna Vilas Sabha, catered to this need. Soon similar companies appeared in smaller towns, too, among them the Sudharsana Sabha of Thanjavur and the  Rasiga Ranjani Sabha of Tiruchi. These clubs or sabhas were amateur out fits whose members joined them for the love of theatre, not for making a living. 

Incontrast to the commercial companies, the performances by these clubs were much fewer and were restricted to a fewtowns. The plays staged by these elite associations were mostly Tamil versions of the worksof Kalidasa and Shakespeare. The British Government awarded Sambanda Mudaliyar the title Rao Bahadur, a gesture considered a reward for loyalty. At a later point in time, when the company drama became politicized and lent support to the nationalist cause, the sabhas remained apolitical and confined themselves to non-controversial plays. With the appearance of these elite theatregroups, two distinct performance styles evolved.

Read More

WRITING A DRAMA SCRIPT

Before writing a drama script, we first need to know what drama is.
WHAT IS MEANT BY A DRAMA?
Drama is derived from the Greek word “dran” which means “to do” or “to act”. Drama is mimetic action, that is, action imitating or representing human behaviour. According to Aristotle, drama is an imitation of life, a cultural mirror and a reflection of truth.  For Aristotle, the plot was the prime mover of a drama, and the drama must be constructed from three unities, namely action, place and time. These elements categorise drama as a branch of literature. drama includes the elements of the arts such as acting, music, architecture, fashion and dance.

In general, there are three types of drama:

• • Tragedy – A drama that tells the bittersweet and tragic life of its main character. The hero often suffers a tragic end. In this drama, tragedy is the main story.
• • Comedy – A drama that is told in a humorous and entertaining manner. Its content is serious, but delivered in the form of humour by the characters. This type of drama is often used as satire to ridicule society. The plot of a comedic drama may end satisfactorily for the audience or it may also end in sorrow. This type of drama is also known as a tragic-comedy.
• • Melodrama – This drama is sentimental in nature and the story is often centred on family or women’s issues. It will usually affect the reader or audience emotionally.

Drama is not only to be read, but also to be acted on the stage, with different interpretations for its reading and performance on stage. A drama is a script that can be read on its own without the need for space, actors or other artistic support. When a drama script is acted out on the stage in combination with various other arts before an audience, it is called theatre.

DRAMA SCRIPT

A drama script is different from a novel, a short story or a poem. In novels and short stories, the reader will be given a detailed description of a situation and the background for a particular event, whereas in a drama script, the reader will be given only an overview of a particular situation and the location or place. The dialogue will deliver the message and thoughts of the author. This is what distinguishes drama from other literary works.

 Indeed, the nature of a drama is driven by dialogue. The author’s thoughts or ideas are conveyed through dialogue by the actors (characters) interacting in a drama. A good drama script will be able to give a clear picture of the author's thoughts through the dialogue. Dramatic element means the diction or expressions that can create conflict in a drama, such as dialogue that elicits feelings of anger, delight, amusement, etc. A good drama should have an element of suspense, tension and be able to arouse the curiosity of its reader or audience.

STYLE AND CHARACTERISATION
Drama is an art form, It demands teamwork due to the inclusion of other artistic personnel and also because of the immediacy of reaction from the audience. A drama script is fixed and permanent in nature as a whole, but each time the drama is performed on stage, the production of the script will undergo changes. This is because the actors will react differently to different audiences, and also the mood of the actors is different in each show.


FEATURES OF DRAMA
Generally, drama has the following features:

   
• Drama is a modern prose produced to be read and staged.
• Drama can be in the form of prose or poetry.
• Drama consists of dialogues and characters created by the author.
• The thoughts and ideas of the author are conveyed through dialogue by the characters.
• Conflict, which is an important element in a drama script, is driven by the characters in the plot.
• A script that is not based on conflict is not considered as a good drama.
• The style of language in a drama is also important because it shows the setting and the society it represents, thus drama reflects the socio-culture of the society described by the author.

STRUCTURE OF DRAMA

In principle, drama has a three-act structure. The structure of all these scripts is divided into three parts.
A strong foundation will support the structure, concept and vision of a drama. It will produce a solid framework or creative work .  Absence of a strong foundation will produce only frustration, impasse.
An impasse occurs because of the lack of planning.  Without planning, it is difficult for the author to find the right direction or way to proceed with a story.
The three important elements that must be given focus by the author before writing a script are:

• o Focus
• o Logic
• o Characterisation

Focus
To ensure coherence in a story, the characters and the way they function require focus or concentration regardless of whether the storyline is linear, non-linear  or parallel. Consistent strong focus will make the process of writing easier and smoother. Focus requires a number of considerations. The main consideration is knowing the characters who are they?, their backgrounds, natures and development. Focus also requires the characterisation and overall storyline to have a clear goal in the end.

Logic
When we produce a story with all its characters, themes and locations, we are actually involved in creation. every character, theme, time and location has its own rules; it is like creating a new world. . Drama adopts or imitates reality of life.  The reality of a drama must be viewed in the context of the story, characterisation and theme. This is where the logic of the drama is measured.


Character and Characterization
In a good drama script, the characters must be able to carry the story further. The characters are the most important element in a drama. They drive the plot.  In a drama, there are main characters and supporting characters. Often a drama has one main character, or two main characters -who called the protagonist the character advocate the ideas of the author.The antagonist the character opposing the ideas of the author. Supporting characters are other characters that support the protagonist or antagonist or characters that complete the story.

Read More

Digital Media Ethics

Ethics is the terms defined as a  set of principles of right, or moral conduct.    In  the media, ethics is usually defined in terms of a set of principles and practices articulated in a code for journalists or media professionals to help them act responsibly.  Common to most of these codes are the four principles of seeking the truth, acting independently , being held accountable and minimizing harm.  Most journalism codes contain both situational and absolute ethics.  

Digital news media includes online journalism, blogging, digital photojournalism, citizen journalism and social media. It includes questions about how professional journalism should use this ‘new media’ to research and publish stories, as well as how to use text or images provided by citizens.

In the Society of Professional Journalists (SPJ)’s ethics code,  journalists are admonished  to "never plagiarize."  But, they are encouraged to "Identify sources whenever feasible,". The implication being that anonymous sources are sometimes unavoidable and perhaps appropriate, depending on the situation. 

 There are essentially two types of ethics problems. 
 These are errors of commission and  errors of omission .

Errors of commission are things journalists and media professionals should not do example to  accepting gifts from sources.   

Errors of omission are things journalists and other media professionals should do, but fail to do.  For example, sometimes journalists should ask tough follow-up questions of sources, but fail to do so, perhaps because they are afraid of losing their access to a desired source. 

ERRORS OF COMMISSION

Errors of commission are the ethical missteps .

Using Anonymous Sources

 Anonymous sources are critically important in investigative reporting, and are the only way to get a source to reveal what he or she knows about a matter of public importance. 

 In some cases, a reporter should shield the identity of a source. This is an issue that confronts journalism whether in analog or digital format.  Although decisions may need to be considered in context, victims of sexual assault, particularly children, need to have their identities protected, even when serving as news sources.

PEJ notes that newspapers make substantially less use of anonymous sources. At newspapers, "Just 7% of all stories, and 13% of front-page stories, contained anonymous sources."

Using False Bylines

As a cost-saving strategy, a Chicago-based media company, Journatic, employed more than 100 overseas freelancers in 2012, primarily in the Philippines, who collected online information and then organized and presented it as stories under false bylines to hundreds of U.S.-based writers and editors for publication.  Ultimately, the public trust is violated and the relationship between journalists and the public is damaged as is the credibility of the news media.

Digital Manipulation 

 Image and video manipulation represent another significant error of commission in the digital age. In November of 2000 U.S. President Bill Clinton and Cuban President Fidel Castro did meet in New York at the United Nations.  But they never shook hands.  Yet,  the New York Daily editors created a digital composite image showing the two world leaders reaching out hand-to-hand in a friendly gesture. 

Publishing images, photos, video and audio often involves editing of that content in some fashion, such as simply for length or cropping to fit a screen or other media space.  Many of these simple edits involve no ethical concerns.  In general, the types of digital media manipulations possible include: 

1) the addition or subtraction of content; 

2) composite imagery or constructed images, where multiple video or still images or their audio equivalents are merged into one seamless image;

 3) synthetic images, video or audio, where completely real-looking scenes are created artificially depicting events that might have taken place or that might take place in the future; and 

4) animations. 

When publishing digital images, photos, video and audio (or 3D objects), editors should adhere to the following ethical principles: 

1.Most importantly, they should never edit any images, photos, video or audio that results in altering or distorting the meaning of that content.  

It is also essential that any digitally altered image, video or audio, or animation, or 3D printed object be clearly labeled so all viewers or listeners understand the altered or artificial nature of the content.  This labeling is the only way to maintain journalistic standards of truth, accuracy, and fairness.

Hidden Cameras 

Hidden cameras, whether digital or analog, raise similar concerns about privacy.  Or, consider remote-sensing satellite imagery taken from hundreds of miles above the Earth. These digital sensors can capture imagery less than half a meter in size.  

Balancing Rights

 there needs to be a balance between freedom of speech and other values.  As such, there is an ethical  to balance the public’s right to know with citizens' right to privacy.  There is a question of legal rights vs. ethical responsibility, and both of these must be placed in the context of corporate drive for profits and commercial exploitation. 

Invading a Roommate’s Privacy

While using a Web-cam to  video-record or transmit private or intimate behaviors of another person's activities without their knowledge or consent, particularly when the person involved not a public figure.  Such was the case in a dorm room on the campus of Rutgers University in 2010 when  Dharun Ravi used his computer's Web-cam to video-record the intimate encounter of his gay roommate and posted comments online about the encounter. Ravi, who was expelled from the University, was found guilty of spying on his roommate, who committed suicide shortly after the original incident. 

Digital Big Foot

Social media can mean balancing freedom of speech and civility, as well as being aware of the digital footprint or potential reach of one's online communications.  UCLA student Alexandra Wallace used her mobile phone to create a video and posted it to YouTube in March 2011 and it quickly went viral.  The problem was her video was a rant against Asians and their alleged misuse of cell phones in the library and beyond.  In response to her video posting, Wallace received death threats and she removed the video and apologized. 

Revealing State Secrets

 The problem of digital transparency is particularly acute when the secrets to be revealed may relate to matters of national security.  In 2006 this issue moved well onto the public stage when newspapers such as The New York Times revealed the Bush Administration's use of extensive warrantless phone taps and monitoring using various digital communications technologies. In 2010 Julian Assange's WikiLeaks digitally published hundreds of thousands of classified government and military documents.  

Networked, digital communication technologies, such as mobile phones, e-mail and social media, as well as the massive digital data collections provided by organizations such as WikiLeaks, are increasingly attractive sources of information for reporters.  In many cases, the information is obtained ethically and legally.  But in certain circumstances, such as where the digital information is delivered anonymously or from a confidential informant, journalists need to ask themselves several fundamental, ethically driven questions when pursuing a digital source and a story.   

File Sharing

Among the most popular activities many college students, as well as others, engage in is file sharing. Often, the files being shared are legally exchanged.  But, other times, the persons sharing the files do not have the needed copyright permissions to be in compliance with prevailing laws. 

ERRORS OF OMISSION

In the digital age, one of the most common ethical errors of omission involves how journalists conduct interviews.  Traditionally, journalists conducted all their interviews with news sources in person.  These face-to-face interviews had many strengths, including allowing the journalist to establish a strong sense of connection with the source.   With the invention of the telephone, mobile communications, the Internet and e-mail, it became easier, faster, and much cheaper to conduct interviews from a distance.  For many sources, interviews via e-mail or mobile phone are a more convenient method of interview and this makes it an attractive option to many.  These technological developments meant reporters could conduct more interviews in less time at less expense without taking the time to go into the field. Moreover, distant sources, including those abroad, could be accessed via the Internet or the phone or Skype call. 

Many sources have increasingly sought to have reporters allow them to review their quotes prior to publication.  This is relatively easy via e-mail or even telephone.  In some cases, this can enable a reporter to ask follow-up questions or catch minor errors in a quote.  

 source

Read More

Dramatic Elements

The dramatic elements are at the core of all drama. They can be used in isolation or 
simultaneously and are manipulated by the performer for dramatic effect.

1. Focus

Focus is often used as the terms concentration and engagement, assisting the 
performer in the portrayal of believable characters. Furthermore, focus requires the channelling (focusing) of all the performer’s energies into achieving the given goals or objectives of a character in a scene .

2. Tension

Tension can lies in the development of suspense in a performance. As the audience anticipates certain outcomes in the plot, the tension builds. tension usually parallels the advancement of the plot, leading to a crisis or climax. Tension is closely linked with timing.

3. Timing

Timing in performance refers to dramatic timing of movements and gestures. When performing, the use of our body must be carefully considered.  Rhythm and pace are affected by timing.

4. Rhythm

Rhythm refers to the timing and pace of the drama. It also means the beat or tempo of the performance.  As a rule, rhythm should never be the same throughout the drama, regardless of its length. Rhythm can follow the emotional state of one or more characters or the atmosphere of the performance at particular moments.

5. Contrast

Without the careful use of contrast a performance is boring and lacks tension. An obvious example of contrast is a sad scene followed by a happy one. 

6. Mood

Mood is the feeling or tone of a performance. It  created through a combination of several dramatic and stagecraft elements working in harmony with each other. The mood of a performance is closely linked with everyday feelings such as pity, anger, desire or frustration. Mood in drama can be created via sound, lighting, movement, setting, rhythm, contrast, conflict and more.

7. Space

This dramatic element refers to the effective use of available space in a performance such as sitting, bending over, lying down or crawling. In order to use the space effectively, movement becomes an important factor. 

8. Language

The use of language in performance can be verbal, vocal or non-verbal. Language is the spoken text.  While normally spoken by the actor, language can also be chanted or sung.  The choice of language in performance is crucial.. Exactly how the actor in performance uses language is usually determined by the expressive skill of voice. However, language can also be non-verbal, commonly referred to as body language.

9. Sound

Modern theatrical practice relies on sound to assist in a number of ways. It can be useful in creating atmosphere or mood. Actors and their bodies can construct effective sound in performance.

10. Symbol

The use of symbol in dramatic performance can be one of the simplest and also most complicated of all techniques. Symbols can also be found in the use of colour. We often symbolise purple with royalty, red with anger or desire, black with evil and darkness or white with purity and innocence. Colour association can be worthwhile symbols with costumes, sets and props. But the most sophisticated use of symbol occurs with the application of gesture and movement.  A gesture can also be a powerful symbol. 

11. Conflict

Drama that lacks conflict is normally dull and uninspiring. As a rule, conflict should always be considered an essential ingredient for all dramatic performances. Conflict can be between two or more characters, or simply one (inner conflict).   Conflict on stage can be verbal, physical or non-verbal (psychological). Conflict differs from tension in that it is often a fixed part of the structure of a play, with characters destined to clash with one another from the outset.

12. Climax

Most drama will have one or more crises in the development of the plot. A crisis is a key moment of dramatic tension and conflict in the play, usually occurring between two or more characters and having serious implications for the outcome of the plot. The ultimate crisis, or highest peak, is usually called the climax  occurs toward the end of a performance. There can also be more than one climax, although this is uncommon.

- See more at: http://www.thedramateacher.com/dramatic-elements/#sthash.2tYMlXvM.dpuf

Read More

Interpersonal Communication

Interpersonal communication is humanity’s most important characteristic and its greatest accomplishment. Interpersonal Communication is a complex process that can be described in simplified terms by a Sender and a Receiver who exchange messages containing ideas and feelings, mixed together. The Sender encodes the messages using Verbal, Vocal and Visual elements.

The words form the Verbal element. The Vocal element includes the tone and intensity of our voice .The Visual element incorporates everything the Receiver can see. the Visual, non-verbal element is the most powerful element, grabbing and holding Receiver’s attention.

Need of Interpersonal Communication

Interpersonal communication helps the human to live together, work together and play together. We need each other for security, comfort, friendship and love. It help us to achieve our goals and objectives. The interpersonal communication is possible through dialogue or conversation.

Interpersonal Communication is the lifeblood of every relationship. Good relations are maintained by open, clear and sensitive communication.

Ineffective communication causes loneliness, conflicts, family problems, professional

dissatisfactions, psychological stress, physical illness and even death.

Interpersonal communication involves a direct face-to-face relationship between the sender

and receiver. Communication is enhanced when the relationship exists over a long period of time. Interpersonal communication involves the verbal words as well as the various elements of nonverbal communication.

The purposes of interpersonal communication are to influence, help and discover, as well as to share and play together. We communicate in order to:  Get acquainted  , Express emotions to others, Share information, Persuade others to understand our personal views , build relationships

Interpersonal communication can be categorized by the number of participants.

• Dyadic communication involves two people. Example: Two friends talking.

• Group communication involves three or more persons.

Often group communication is done for the purpose of problem solving or decision making. Example: University study group.

• Public communication involves a large group with a primarily one-way monologue style generating only minimal feedback. Information sharing, entertainment and persuasion are

common purposes of public communication. Example: Lecture in university class.

• Organizational communication deals with communication within large organizations such as businesses. . Example: Work focused discussion between employer and employee.

• Family communication focuses on communication patterns within blended families.

Family communication can be enhanced by the long-standing and close relationships among participants as well as the likelihood that families have shared heritage, similar values, and social rituals. Patterns differ in communication between spouses, between parent and child, among siblings, and within the wider family context.

•    Mediated Interpersonal Communication: Mediated interpersonal communication involves technology that assists or links the sender and receiver of messages. Mediated communication offers the advantage that it allows people to communicate over a distance or throughout a time span that would not be possible in direct communication. E-mail offers instantaneous global communication, and cell phones are highly mobile. Computer technology makes it possible for people to do their job without being physically present, allowing them to work from their home or from across the world.

Read More