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Title: Peoples and Cultures of Europe


1
Peoples 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)

13
http//www.d.umn.edu/cla/faculty/troufs/anth1095/i
ndex.htmltext
14
GannonsEuropean 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 . . .

15
www.d.umn.edu/cla/faculty/troufs/anth1095/Ireland.
htmltitle
16
http//www.carn.com/IrishTales.htm
17
GannonsEuropean 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

20
Mark 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
21
A 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

22
Fig. 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
23
A 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

24
A 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

25
Emics / 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

30
Fig. 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
45
A 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

52
GannonsEuropean 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 . . .

53
GannonsEuropean 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

57
Florence 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

58
Florence 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

59
Florence 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

60
Florence 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

61
Florence 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

62
Florence 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

63
Florence 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?

64
Florence 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?

65
Florence 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?

66
Florence 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?

67
Florence Kluckholn and Fred Strodtbeck
  • What is the societys dominant temporal
    orientation
  • past
  • present
  • and / or future?

68
Florence 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

74
Edward T. Hall
  • Context,
  • or the amount of information that must be
    explicitly stated if a message or communication
    is to be successful

75
Edward 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

76
Edward 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)

77
Edward 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)

78
Edward 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

80
Geert 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

81
Geert 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

82
Geert 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

83
Geert 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

84
Geert Hofstede
  • Masculinity
  • or the degree to which a society looks favorably
    on aggressive and materialistic behavior

85
Geert 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

86
Geert 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 . . .

89
http//www.d.umn.edu/cla/faculty/troufs/anth1095/i
ndex.htmltext
90
A 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
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