Peoples and Cultures of Europe The FourStage Model

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Peoples and Cultures of Europe The “Four-Stage” Model of Analysis

Peoples and Cultures of Europe The “Four-Stage” Model of Analysis

“The Four-Stage Model of Anallysis”

“The Four-Stage Model of Anallysis”

 • we sometimes include Europe in anthropology specifically because we want to test

• 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

the item or action itself as a Unit of Analysis

the item or action itself as a Unit of Analysis

 • on the other hand, going to Europe was essential in the anthropological

• 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

 • on the other hand, going to Europe was essential in the anthropological

• 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

 • according to Mark T. Shutes, this same motivation lay behind George Peter

• 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

 • according to Mark T. Shutes, this same motivation lay behind George Peter

• 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

a cultural metaphor (analogy, by means of cultural metaphors) as a Unit of Analysis

a cultural metaphor (analogy, by means of cultural metaphors) as a Unit of Analysis

“units of analysis” may also include: – a nation (“national character studies”) – the

“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)

“units of analysis” may also include: – a nation (“national character studies”) – the

“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)

http: //www. d. umn. edu/cla/faculty/troufs/anth 1095/index. html#text

http: //www. d. umn. edu/cla/faculty/troufs/anth 1095/index. html#text

Gannon’s European Cultural Metaphors include Ch. 6. The Turkish Coffehouse Ch. 8. The Polish

Gannon’s European Cultural Metaphors include 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. . .

www. d. umn. edu/cla/faculty/troufs/anth 1095/Ireland. html#title

www. d. umn. edu/cla/faculty/troufs/anth 1095/Ireland. html#title

http: //www. carn. com/Irish. Tales. htm

http: //www. carn. com/Irish. Tales. htm

Gannon’s European Cultural Metaphors include Ch. 17. The Traditional British House Ch. 21. The

Gannon’s European Cultural Metaphors include 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

Cultural Metaphors • cultural metaphors can be derived for ethnic groups within and across

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

Cultural Metaphors • cultural metaphors can be derived for ethnic groups within and across

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

Mark Kurlansky The Basque History of the World. NY: Penguin Books, 1999. (ISBN: 0140298517)

Mark Kurlansky The Basque History of the World. NY: Penguin Books, 1999. (ISBN: 0140298517) http: //www. d. umn. edu/cla/faculty/troufs/anth 3635/cetexts. html#Basque. History

A Four-Stage Model of Cross. Cultural Understanding I. four-cell typology of process / goal

A Four-Stage Model of Cross. Cultural Understanding I. four-cell typology of process / goal orientation II. more specificity III. inclusion of other “etic” of culture-general dimensions along which specific cultures have been shown to vary IV. cultural metaphors are employed for understanding a culture they build on the “etic” understanding provided by the approaches used in the first three stages

Fig. 1. 1. Process, Goals, and Expression of Emotions (p. 12) Open Expression of

Fig. 1. 1. Process, Goals, and Expression of Emotions (p. 12) Open Expression of Emotions and Feelings Lower Degree to which process must be emphasized before goals can be discussed Lower Higher

A Four-Stage Model of Cross. Cultural Understanding I. four-cell typology of process / goal

A Four-Stage Model of Cross. Cultural Understanding I. four-cell typology of process / goal orientation II. more specificity III. inclusion of other “etic” of culture-general dimensions along which specific cultures have been shown to vary IV. cultural metaphors are employed for understanding a culture they build on the “etic” understanding provided by the approaches used in the first three stages

A Four-Stage Model of Cross. Cultural Understanding I. four-cell typology of process / goal

A Four-Stage Model of Cross. Cultural Understanding I. four-cell typology of process / goal orientation II. more specificity III. inclusion of other “etic” of culture-general dimensions along which specific cultures have been shown to vary IV. cultural metaphors are employed for understanding a culture they build on the “etic” understanding provided by the approaches used in the first three stages

Emics / Etics emics – from “phonemics” – viewing a culture from the inside

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

“Four-Stage Model” One variable of Gannon’s “Four-Stage Model” is the degree to which process

“Four-Stage Model” One variable of Gannon’s “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

“Four-Stage Model” One variable of Gannon’s “Four-Stage Model” is the degree to which process

“Four-Stage Model” One variable of Gannon’s “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

“Four-Stage Model” Another variable of Gannon’s “Four-Stage Model” is the degree to which a

“Four-Stage Model” Another variable of Gannon’s “Four-Stage Model” is the degree to which a culture fosters and encourages open emotional expression

“Four-Stage Model” Another variable of Gannon’s “Four-Stage Model” is the degree to which a

“Four-Stage Model” Another variable of Gannon’s “Four-Stage Model” is the degree to which a culture fosters and encourages open emotional expression

Fig. 1. 1. Process, Goals, and Expression of Emotions (p. 12) Open Expression of

Fig. 1. 1. Process, Goals, and Expression of Emotions (p. 12) Open Expression of Emotions and Feelings Lower Degree to which process must be emphasized before goals can be discussed Lower Higher England, Ireland, and Scotland China, Japan, and India Higher United States and Germany Mexico, Spain, and Italy

Cultural Metaphors “Metaphors are not stereotypes” – Martin J. Gannon Why?

Cultural Metaphors “Metaphors are not stereotypes” – Martin J. Gannon Why?

Geert Hofstede (1991) • IBM study demonstrated that national culture explained 50% of the

Geert Hofstede (1991) • IBM study demonstrated that national culture explained 50% of the differences in attitudes in IBM’s 53 countries

“Given such studies, it seems that culture influences between 25% and 50% of our

“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. ”

“Given such studies, it seems that culture influences between 25% and 50% of our

“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. ”

“Frequently, when a foreigner violates a key cultural value, he or she is not

“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

“Frequently, when a foreigner violates a key cultural value, he or she is not

“Frequently, when a foreigner violates a key cultural value, he or she is not even aware of the – including violation, and no one brings the proxemics matter to his or her attention. ” kenisics 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

“Frequently, when a foreigner violates a key cultural value, he or she is not

“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

“Even genuinely small cultural mistakes can have enormous consequences. ”

“Even genuinely small cultural mistakes can have enormous consequences. ”

“. . . knowing a country’s language, although clearly helpful, is no guarantee of

“. . . knowing a country’s 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. ”

“. . . knowing a country’s language, although clearly helpful, is no guarantee of

“. . . knowing a country’s 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. ”

“Moreover, members of a culture tend to assume that highly fluent visitors know the

“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. ”

Cultural Metaphors • Understanding Global Cultures describes a method for understanding easily and quickly

Cultural Metaphors • Understanding Global Cultures describes a method for understanding easily and quickly the cultural mindset of a nation and comparing it to other nations. . .

Cultural Metaphors • Understanding Global Cultures describes a method for understanding easily and quickly

Cultural Metaphors • Understanding Global Cultures describes a method for understanding easily and quickly the cultural mindset of a nation and comparing it to other nations. . . metaphorical analysis

Cultural Metaphors wherein the unit of analysis is the metaphor

Cultural Metaphors wherein the unit of analysis is the metaphor

A Four-Stage Model of Cross. Cultural Understanding I. four-cell typology of process / goal

A Four-Stage Model of Cross. Cultural Understanding I. four-cell typology of process / goal orientation II. more specificity III. inclusion of other “etic” of culture-general dimensions along which specific cultures have been shown to vary IV. cultural metaphors are employed for understanding a culture they build on the “etic” understanding provided by the approaches used in the first three stages

Cultural Metaphors • In essence the cultural metaphor involves identifying some phenomenon, activity, or

Cultural Metaphors • In essence the cultural metaphor involves identifying some phenomenon, activity, or institution of a nation’s 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

Cultural Metaphors • In essence the cultural metaphor involves identifying some phenomenon, activity, or

Cultural Metaphors • In essence the cultural metaphor involves identifying some phenomenon, activity, or institution of a nation’s 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

Cultural Metaphors • In essence the cultural metaphor involves identifying some phenomenon, activity, or

Cultural Metaphors • In essence the cultural metaphor involves identifying some phenomenon, activity, or institution of a nation’s 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

Cultural Metaphors • each metaphor is a guide or map that helps the foreigner

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

Cultural Metaphors • each metaphor is a guide or map that helps the foreigner

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

Cultural Metaphors • Gannon’s book describes a dominant, and perhaps the dominant, metaphor for

Cultural Metaphors • Gannon’s book describes a dominant, and perhaps the dominant, metaphor for each society – but other metaphors may also be suitable

Gannon’s European Cultural Metaphors include Ch. 6. The Turkish Coffehouse Ch. 8. The Polish

Gannon’s European Cultural Metaphors include 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. . .

Gannon’s European Cultural Metaphors include Ch. 17. The Traditional British House Ch. 21. The

Gannon’s European Cultural Metaphors include 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

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall •

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall • Geert Hofstede • Cultural Metaphors include, in addition, the items on p. 11 of Gannon’s book. . .

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall •

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall • Geert Hofstede • Cultural Metaphors include, in addition, the items on p. 11 of Gannon’s book. . .

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck – note that each society

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

Florence Kluckholn and Fred Strodtbeck 1. “What do members of a society assume about

Florence Kluckholn and Fred Strodtbeck 1. “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”

Florence Kluckholn and Fred Strodtbeck 1. “What do members of a society assume about

Florence Kluckholn and Fred Strodtbeck 1. “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”

Florence Kluckholn and Fred Strodtbeck 2. “What do members of a society assume about

Florence Kluckholn and Fred Strodtbeck 2. “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”

Florence Kluckholn and Fred Strodtbeck 2. “What do members of a society assume about

Florence Kluckholn and Fred Strodtbeck 2. “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”

Florence Kluckholn and Fred Strodtbeck 3. “What do members of a society assume about

Florence Kluckholn and Fred Strodtbeck 3. “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

Florence Kluckholn and Fred Strodtbeck 3. “What do members of a society assume about

Florence Kluckholn and Fred Strodtbeck 3. “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

Florence Kluckholn and Fred Strodtbeck 4. “What is the primary mode of activity in

Florence Kluckholn and Fred Strodtbeck 4. “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? ”

Florence Kluckholn and Fred Strodtbeck 4. “What is the primary mode of activity in

Florence Kluckholn and Fred Strodtbeck 4. “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? ”

Florence Kluckholn and Fred Strodtbeck 5. “What is the conception of space in a

Florence Kluckholn and Fred Strodtbeck 5. “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? ”

Florence Kluckholn and Fred Strodtbeck 5. “What is the conception of space in a

Florence Kluckholn and Fred Strodtbeck 5. “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? ”

Florence Kluckholn and Fred Strodtbeck 6. “What is the society’s dominant temporal orientation” past

Florence Kluckholn and Fred Strodtbeck 6. “What is the society’s dominant temporal orientation” past present and / or future?

Florence Kluckholn and Fred Strodtbeck 6. “What is the society’s dominant temporal orientation” past

Florence Kluckholn and Fred Strodtbeck 6. “What is the society’s dominant temporal orientation” past present and / or future?

Constructing Cultural Metaphors • Kluckholn and Strodtbeck note that each society has a dominant

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

Constructing Cultural Metaphors • Kluckholn and Strodtbeck note that each society has a dominant

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

Constructing Cultural Metaphors • Kluckholn and Strodtbeck note that each society has a dominant

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

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall •

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall • Geert Hofstede

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall •

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall • made many discoveries in how • Geert Hofstede people learn language • analyzed the levels of learning

Edward T. Hall 1. “Context, or the amount of information that must be explicitly

Edward T. Hall 1. “Context, or the amount of information that must be explicitly stated if a message or communication is to be successful”

Edward T. Hall 2. “Space, or the ways of communicating through specific handling of

Edward T. Hall 2. “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

Edward T. Hall 3. Time, which is either monochronic (scheduling and completing one activity

Edward T. Hall 3. Time, which is either monochronic (scheduling and completing one activity at a time) or polychronic (not distinguishing between activities and completing them simultaneously – “multitasking”)

Edward T. Hall 3. Time, which is either monochronic (scheduling and completing one activity

Edward T. Hall 3. Time, which is either monochronic (scheduling and completing one activity at a time) or polychronic (not distinguishing between activities and completing them simultaneously – “multitasking”)

Edward T. Hall 4. “Information flow, which is the structure and speed of messages

Edward T. Hall 4. “Information flow, which is the structure and speed of messages between individuals and / or organizations”

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall •

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall • Geert Hofstede

Geert Hofstede – prominent organizational psychologist – research is based on a large questionnaire

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

Geert Hofstede 1. Power distance or the degree to which members of a society

Geert Hofstede 1. 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

Geert Hofstede 2. Uncertainty avoidance or the degree to which members of a given

Geert Hofstede 2. 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

Geert Hofstede 3. Individualism or the degree to which an individual perceives him- or

Geert Hofstede 3. 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

Geert Hofstede 4. Masculinity or the degree to which a society looks favorably on

Geert Hofstede 4. Masculinity or the degree to which a society looks favorably on aggressive and materialistic behavior

Geert Hofstede 5. Time horizon (short term to long term) or the degree to

Geert Hofstede 5. 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

Geert Hofstede 5. Time horizon (short term to long term) or the degree to

Geert Hofstede 5. 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

criticisms of the “three-dimensional approaches” developed by Kluckholn and Strodtbeck, Hall, and Hofstende include

criticisms of the “three-dimensional approaches” developed by Kluckholn and Strodtbeck, Hall, and Hofstende include – leave out many features of the cultural mindsets that are activated in daily cultural activities – neglect the institutions molding these mindsets – are instructive, but are “somewhat lifeless and narrow” – leave out many facets of behavior

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall •

Constructing Cultural Metaphors • Florence Kluckholn and Fred Strodtbeck • Edward T. Hall • Geert Hofstede • Cultural Metaphors include, in addition, the items on p. 11 of Gannon’s book. . .

http: //www. d. umn. edu/cla/faculty/troufs/anth 1095/index. html#text

http: //www. d. umn. edu/cla/faculty/troufs/anth 1095/index. html#text

A Four-Stage Model of Cross. Cultural Understanding I. four-cell typology of process / goal

A Four-Stage Model of Cross. Cultural Understanding I. four-cell typology of process / goal orientation II. more specificity III. inclusion of other “etic” of culture-general dimensions along which specific cultures have been shown to vary IV. cultural metaphors are employed for understanding a culture they build on the “etic” understanding provided by the approaches used in the first three stages