Title: Peoples and Cultures of Europe
1Peoples and Cultures of Europe
- The Four-Stage Model of Analysis
2- The Four-Stage
- Model of Anallysis
3- we sometimes include Europe in anthropology
specifically because we want to test the
universality of anthropological models - Hoffman
- Shutes
Susan Parman, Europe in the Anthropological
Imagination, pp. 11 - 14
4- the item or action itself
- as a
- Unit of Analysis
5- on the other hand, going to Europe was essential
in the anthropological imagination because it
validated the universality of anthropological
models - thus separating it from its image as a discipline
relevant only to the study of the exotic, the
primitive, and the non-West
Susan Parman, Europe in the Anthropological
Imagination, pp. 14 - 16
6- on the other hand, going to Europe was essential
in the anthropological imagination because it
validated the universality of anthropological
models - thus separating it from its image as a discipline
relevant only to the study of the exotic, the
primitive, and the non-West
Susan Parman, Europe in the Anthropological
Imagination, pp. 14 - 16
7- according to Mark T. Shutes, this same motivation
lay behind George Peter Murdock attempting to add
more European material to the Human Relations
Area Files, so as to expand the scope of
ethnographic examples
Susan Parman, Europe in the Anthropological
Imagination, pp. 14 - 16
8- according to Mark T. Shutes, this same motivation
lay behind George Peter Murdock attempting to add
more European material to the Human Relations
Area Files, so as to expand the scope of
ethnographic examples
Susan Parman, Europe in the Anthropological
Imagination, pp. 14 - 16
9(No Transcript)
10- a cultural metaphor
- (analogy, by means of cultural metaphors)
- as a
- Unit of Analysis
11- units of analysis may also include
- a nation
- (national character studies)
- the item or action itself
- (including processes)
- a cultural metaphor
- (analogy, by means of cultural metaphors)
12- units of analysis may also include
- a nation
- (national character studies)
- the item or action itself
- (including processes)
- a cultural metaphor
- (analogy, by means of cultural metaphors)
13http//www.d.umn.edu/cla/faculty/troufs/anth1095/i
ndex.htmltext
14GannonsEuropean Cultural Metaphorsinclude
- Ch. 6. The Turkish Coffehouse
- Ch. 8. The Polish Village Church
- Ch. 10. The German Symphony
- Ch. 11. The Swedish Stuga
- Ch. 12. Irish Conversations
- Ch. 14. The Danish Christmas Luncheon
- Ch. 15. French Wine . . .
15www.d.umn.edu/cla/faculty/troufs/anth1095/Ireland.
htmltitle
16http//www.carn.com/IrishTales.htm
17GannonsEuropean Cultural Metaphorsinclude
- Ch. 17. The Traditional British House
- Ch. 21. The Italian Opera
- Ch. 22. Belgian Lace
- Ch. 24. The Russian Ballet
- Ch. 25. The Spanish Bullfight
- Ch. 26. The Portuguese Bullfight
18 Cultural Metaphors
- cultural metaphors can be derived for ethnic
groups within and across nations - e.g., Anishinabe (Chippewa Ojibwa)
- e.g., Rom (Gypsies)
- e.g., Irish Travellers
- sometimes incorrectly called Gypsies
- e.g., Kurds (in Turkey)
- e.g., Basques
19 Cultural Metaphors
- cultural metaphors can be derived for ethnic
groups within and across nations - e.g., Anishinabe (Chippewa Ojibwa)
- e.g., Rom (Gypsies)
- e.g., Irish Travellers
- sometimes incorrectly called Gypsies
- e.g., Kurds (in Turkey)
- e.g., Basques
20Mark Kurlansky The Basque History of the
World. NY Penguin Books, 1999. (ISBN 0140298517)
http//www.d.umn.edu/cla/faculty/troufs/anth3635/c
etexts.htmlBasqueHistory
21A Four-Stage Model of Cross-Cultural Understanding
- four-cell typology of process / goal orientation
- more specificity
- inclusion of other etic of culture-general
dimensions along which specific cultures have
been shown to vary - cultural metaphors are employed for understanding
a culture - they build on the etic understanding provided
by the approaches used in the first three stages
22Fig. 1.1. Process, Goals, and Expression of
Emotions (p. 12)
Open Expression of Emotions and Feelings Open Expression of Emotions and Feelings Open Expression of Emotions and Feelings Open Expression of Emotions and Feelings
Degree to which process must be emphasized before goals can be discussed Lower Higher
Degree to which process must be emphasized before goals can be discussed Lower
Degree to which process must be emphasized before goals can be discussed Higher
23A Four-Stage Model of Cross-Cultural Understanding
- four-cell typology of process / goal orientation
- more specificity
- inclusion of other etic of culture-general
dimensions along which specific cultures have
been shown to vary - cultural metaphors are employed for understanding
a culture - they build on the etic understanding provided
by the approaches used in the first three stages
24A Four-Stage Model of Cross-Cultural Understanding
- four-cell typology of process / goal orientation
- more specificity
- inclusion of other etic of culture-general
dimensions along which specific cultures have
been shown to vary - cultural metaphors are employed for understanding
a culture - they build on the etic understanding provided
by the approaches used in the first three stages
25Emics / Etics
- emics
- from phonemics
- viewing a culture from the inside
- etics
- from phonetics
- viewing a culture from the outside
- more on the emics and etics later
26 Four-Stage Model
- One variable of Gannons
- Four-Stage Model
- is the degree to which process such as effective
communication and getting to know one another in
depth should precede discussion of specific goals
27 Four-Stage Model
- One variable of Gannons
- Four-Stage Model
- is the degree to which process such as effective
communication and getting to know one another in
depth should precede discussion of specific goals
28 Four-Stage Model
- Another variable of Gannons
- Four-Stage Model is the degree to which a
culture fosters and encourages open emotional
expression
29 Four-Stage Model
- Another variable of Gannons
- Four-Stage Model is the degree to which a
culture fosters and encourages open emotional
expression
30Fig. 1.1. Process, Goals, and Expression of
Emotions (p. 12)
Open Expression of Emotions and Feelings Open Expression of Emotions and Feelings Open Expression of Emotions and Feelings Open Expression of Emotions and Feelings
Degree to which process must be emphasized before goals can be discussed Lower Higher
Degree to which process must be emphasized before goals can be discussed Lower England, Ireland, and Scotland United States and Germany
Degree to which process must be emphasized before goals can be discussed Higher China, Japan, and India Mexico, Spain, and Italy
31 Cultural Metaphors
- Metaphors
- are not stereotypes
- Martin J. Gannon
- Why?
32 - Geert Hofstede
- (1991)
- IBM study demonstrated that national culture
explained 50 of the differences in attitudes in
IBMs 53 countries
33 - Given such studies, it seems that culture
influences between 25 and 50 of our attitudes,
whereas other aspects of workforce diversity,
such as social class, ethnicity, race, sex, and
age, account for the remainder of these
attitudinal differences.
34 - Given such studies, it seems that culture
influences between 25 and 50 of our attitudes,
whereas other aspects of workforce diversity,
such as social class, ethnicity, race, sex, and
age, account for the remainder of these
attitudinal differences.
35 - Frequently, when a foreigner violates a key
cultural value, he or she is not even aware of
the violation, and no one brings the matter to
his or her attention. - once a visitor makes a major mistake it is
frequently impossible to rectify it - and it may well take several months to realize
that polite rejections really signify isolation
and banishment
36 - Frequently, when a foreigner violates a key
cultural value, he or she is not even aware of
the violation, and no one brings the matter to
his or her attention. - once a visitor makes a major mistake it is
frequently impossible to rectify it - and it may well take several months to realize
that polite rejections really signify isolation
and banishment
including proxemics kenisics
37 - Frequently, when a foreigner violates a key
cultural value, he or she is not even aware of
the violation, and no one brings the matter to
his or her attention. - once a visitor makes a major mistake it is
frequently impossible to rectify it - and it may well take several months to realize
that polite rejections really signify isolation
and banishment
38 - Even genuinely
- small cultural mistakes can have enormous
consequences.
39 - . . . knowing a countrys language, although
clearly helpful, is no guarantee of understanding
its cultural mindset, and some of the most
difficult problems have been created by
individuals who have a high level of fluency but
a low level of cultural understanding.
40 - . . . knowing a countrys language, although
clearly helpful, is no guarantee of understanding
its cultural mindset, and some of the most
difficult problems have been created by
individuals who have a high level of fluency but
a low level of cultural understanding.
41 - Moreover,
- members of a culture tend to assume that highly
fluent visitors know the customs and rules of
behavior, and these visitors are judged severely
when violations occur.
42 Cultural Metaphors
- Understanding Global Cultures describes a method
for understanding easily and quickly the cultural
mind-set of a nation and comparing it to other
nations . . .
43 Cultural Metaphors
- Understanding Global Cultures describes a method
for understanding easily and quickly the cultural
mind-set of a nation and comparing it to other
nations . . .
metaphorical analysis
44 Cultural Metaphors
wherein the unit of analysis is the metaphor
45A Four-Stage Model of Cross-Cultural Understanding
- four-cell typology of process / goal orientation
- more specificity
- inclusion of other etic of culture-general
dimensions along which specific cultures have
been shown to vary - cultural metaphors are employed for understanding
a culture - they build on the etic understanding provided
by the approaches used in the first three stages
46 Cultural Metaphors
- In essence the cultural metaphor involves
identifying some phenomenon, activity, or
institution of a nations culture that all or
most of its members consider to be very important
and with which they identify closely - the characteristics of the metaphor then become
the basis for describing and understanding the
essential features of the society
47 Cultural Metaphors
- In essence the cultural metaphor involves
identifying some phenomenon, activity, or
institution of a nations culture that all or
most of its members consider to be very important
and with which they identify closely - the characteristics of the metaphor then become
the basis for describing and understanding the
essential features of the society
48 Cultural Metaphors
- In essence the cultural metaphor involves
identifying some phenomenon, activity, or
institution of a nations culture that all or
most of its members consider to be very important
and with which they identify closely - the characteristics of the metaphor then become
the basis for describing and understanding the
essential features of the society
49 Cultural Metaphors
- each metaphor is a guide or map that helps the
foreigner understand quickly what members of a
society consider very important - but it is only a starting point against which we
can compare our own experiences and through which
we can start to understand the seeming
contradictions pervasive in most, if not all,
societies
50 Cultural Metaphors
- each metaphor is a guide or map that helps the
foreigner understand quickly what members of a
society consider very important - but it is only a starting point against which we
can compare our own experiences and through which
we can start to understand the seeming
contradictions pervasive in most, if not all,
societies
51 Cultural Metaphors
- Gannons book describes
- a dominant,
- and perhaps the dominant,
- metaphor for each society
- but other metaphors may also be suitable
52GannonsEuropean Cultural Metaphorsinclude
- Ch. 6. The Turkish Coffehouse
- Ch. 8. The Polish Village Church
- Ch. 10. The German Symphony
- Ch. 11. The Swedish Stuga
- Ch. 12. Irish Conversations
- Ch. 14. The Danish Christmas Luncheon
- Ch. 15. French Wine . . .
53GannonsEuropean Cultural Metaphorsinclude
- Ch. 17. The Traditional British House
- Ch. 21. The Italian Opera
- Ch. 22. Belgian Lace
- Ch. 24. The Russian Ballet
- Ch. 25. The Spanish Bullfight
- Ch. 26. The Portuguese Bullfight
54 Constructing Cultural Metaphors
- Florence Kluckholn and Fred Strodtbeck
- Edward T. Hall
- Geert Hofstede
- Cultural Metaphors include, in addition, the
items on p. 11 of Gannons book . . .
55 Constructing Cultural Metaphors
- Florence Kluckholn and Fred Strodtbeck
- Edward T. Hall
- Geert Hofstede
- Cultural Metaphors include, in addition, the
items on p. 11 of Gannons book . . .
56 Constructing Cultural Metaphors
- Florence Kluckholn and Fred Strodtbeck
- note that each society has a dominant cultural
orientation that can be described in terms of six
dimensions
57Florence Kluckholn and Fred Strodtbeck
- What do members of a society assume about the
nature of people, that is, are people good, bad,
or a mixture? - These kinds of beliefs are sometimes called
existential postulates
58Florence Kluckholn and Fred Strodtbeck
- What do members of a society assume about the
nature of people, that is, are people good, bad,
or a mixture? - These kinds of beliefs are sometimes called
existential postulates
59Florence Kluckholn and Fred Strodtbeck
- What do members of a society assume about the
relationship between a person and nature, that
is, should we live in harmony with it or
subjugate it? - These kinds of beliefs are sometimes called
normative postulates
60Florence Kluckholn and Fred Strodtbeck
- What do members of a society assume about the
relationship between a person and nature, that
is, should we live in harmony with it or
subjugate it? - These kinds of beliefs are sometimes called
normative postulates
61Florence Kluckholn and Fred Strodtbeck
- What do members of a society assume about the
relationship between people, that is, should a
person act in an individual manner or consider
the group before taking action? - individualism vs. collectivism (groupism) in
terms of such issues as making decisions,
conformity, and so forth
62Florence Kluckholn and Fred Strodtbeck
- What do members of a society assume about the
relationship between people, that is, should a
person act in an individual manner or consider
the group before taking action? - individualism vs. collectivism (groupism) in
terms of such issues as making decisions,
conformity, and so forth
63Florence Kluckholn and Fred Strodtbeck
- What is the primary mode of activity in a given
society, that is, being, or accepting the status
quo, enjoying the current situation, and going
with the flow of things - or doing, that is, changing things to make them
better, setting specific goals and accomplishing
them within specific schedules, and so forth?
64Florence Kluckholn and Fred Strodtbeck
- What is the primary mode of activity in a given
society, that is, being, or accepting the status
quo, enjoying the current situation, and going
with the flow of things - or doing, that is, changing things to make them
better, setting specific goals and accomplishing
them within specific schedules, and so forth?
65Florence Kluckholn and Fred Strodtbeck
- What is the conception of space in a given
society, - that is, is it considered private, in that
meetings are held in private, people do not get
too close to one another physically, and so on - or public, that is, having everyone participate
in meetings and decision making, allowing
emotions to be expressed publicly, and having
people stand in close proximity to one another?
66Florence Kluckholn and Fred Strodtbeck
- What is the conception of space in a given
society, - that is, is it considered private, in that
meetings are held in private, people do not get
too close to one another physically, and so on - or public, that is, having everyone participate
in meetings and decision making, allowing
emotions to be expressed publicly, and having
people stand in close proximity to one another?
67Florence Kluckholn and Fred Strodtbeck
- What is the societys dominant temporal
orientation - past
- present
- and / or future?
68Florence Kluckholn and Fred Strodtbeck
- What is the societys dominant temporal
orientation - past
- present
- and / or future?
69 Constructing Cultural Metaphors
- Kluckholn and Strodtbeck note that each society
has a dominant cultural orientation that can be
described in terms of these six dimensions - but that other, weaker orientations may also
exist simultaneously in its different
geographical regions and racial and ethnic groups
70 Constructing Cultural Metaphors
- Kluckholn and Strodtbeck note that each society
has a dominant cultural orientation that can be
described in terms of these six dimensions - but that other, weaker orientations may also
exist simultaneously in its different
geographical regions and racial and ethnic groups
71 Constructing Cultural Metaphors
- Kluckholn and Strodtbeck note that each society
has a dominant cultural orientation that can be
described in terms of these six dimensions - but that other, weaker orientations may also
exist simultaneously in its different
geographical regions and racial and ethnic groups
72 Constructing Cultural Metaphors
- Florence Kluckholn and Fred Strodtbeck
- Edward T. Hall
- Geert Hofstede
73 Constructing Cultural Metaphors
- Florence Kluckholn and Fred Strodtbeck
- Edward T. Hall
- Geert Hofstede
- made many discoveries in how people learn
language - analyzed the levels of learning
74Edward T. Hall
- Context,
- or the amount of information that must be
explicitly stated if a message or communication
is to be successful
75Edward T. Hall
- Space,
- or the ways of communicating through specific
handling of personal space - e.g., North Americans tend to keep more space
between them while communicating than do South
Americans
76Edward T. Hall
- Time, which is either
- monochronic
- (scheduling and completing one activity at a
time) - or polychronic
- (not distinguishing between activities and
completing them simultaneously multitasking)
77Edward T. Hall
- Time, which is either
- monochronic
- (scheduling and completing one activity at a
time) - or polychronic
- (not distinguishing between activities and
completing them simultaneously multitasking)
78Edward T. Hall
- Information flow,
- which is the structure and speed of messages
between individuals and / or organizations
79 Constructing Cultural Metaphors
- Florence Kluckholn and Fred Strodtbeck
- Edward T. Hall
- Geert Hofstede
80Geert Hofstede
- prominent organizational psychologist
- research is based on a large questionnaire survey
of IBM employees and managers working in 53
different countries - especially significant because the type of
organization is held constant
81Geert Hofstede
- Power distance
- or the degree to which members of a society
automatically accept a hierarchical or unequal
distribution of power in organizations and the
society
82Geert Hofstede
- Uncertainty avoidance
- or the degree to which members of a given
society deal with the uncertainty and risk of
everyday life and prefer to work with long-term
acquaintances and friends rather than with
strangers
83Geert Hofstede
- Individualism
- or the degree to which an individual perceives
him- or her-self to be separate from a group and
free from group pressure to conform
84Geert Hofstede
- Masculinity
- or the degree to which a society looks favorably
on aggressive and materialistic behavior
85Geert Hofstede
- Time horizon
- (short term to long term)
- or the degree to which members of a culture are
willing to defer present gratification in order
to achieve long-term goals
86Geert Hofstede
- Time horizon
- (short term to long term)
- or the degree to which members of a culture are
willing to defer present gratification in order
to achieve long-term goals
87- criticisms of the three-dimensional approaches
developed by Kluckholn and Strodtbeck, Hall, and
Hofstende include - leave out many features of the cultural mind-sets
that are activated in daily cultural activities - neglect the institutions molding these mind-sets
- are instructive, but are somewhat lifeless and
narrow - leave out many facets of behavior
88 Constructing Cultural Metaphors
- Florence Kluckholn and Fred Strodtbeck
- Edward T. Hall
- Geert Hofstede
- Cultural Metaphors include, in addition, the
items on p. 11 of Gannons book . . .
89http//www.d.umn.edu/cla/faculty/troufs/anth1095/i
ndex.htmltext
90A Four-Stage Model of Cross-Cultural Understanding
- four-cell typology of process / goal orientation
- more specificity
- inclusion of other etic of culture-general
dimensions along which specific cultures have
been shown to vary - cultural metaphors are employed for understanding
a culture - they build on the etic understanding provided
by the approaches used in the first three stages