Peoples and Cultures of Europe

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Peoples and Cultures of Europe

• The Four-Stage Model of Analysis

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• The Four-Stage
• Model of Anallysis

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• 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
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• the item or action itself
• as a
• Unit of Analysis

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

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• 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)

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• 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)

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

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

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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

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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

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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
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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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Fig. 1.1. Process, Goals, and Expression of
Emotions (p. 12)
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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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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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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

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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

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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

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Four-Stage Model

• Another variable of Gannons
• Four-Stage Model is the degree to which a
  culture fosters and encourages open emotional
  expression

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Four-Stage Model

• Another variable of Gannons
• Four-Stage Model is the degree to which a
  culture fosters and encourages open emotional
  expression

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Fig. 1.1. Process, Goals, and Expression of
Emotions (p. 12)
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Cultural Metaphors

• Metaphors
• are not stereotypes
• Martin J. Gannon
• Why?

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

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• 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.

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• 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.

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• 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

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• 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
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• 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

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• Even genuinely
• small cultural mistakes can have enormous
  consequences.

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• . . . 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.

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• . . . 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.

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• 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.

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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 . . .

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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
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Cultural Metaphors
wherein the unit of analysis is the metaphor
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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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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

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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

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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

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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

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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

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Cultural Metaphors

• Gannons book describes
• a dominant,
• and perhaps the dominant,
• metaphor for each society
• but other metaphors may also be suitable

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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 . . .

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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

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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 . . .

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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 . . .

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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

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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

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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

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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

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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

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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

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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

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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?

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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?

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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?

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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?

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Florence Kluckholn and Fred Strodtbeck

• What is the societys dominant temporal
  orientation
• past
• present
• and / or future?

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Florence Kluckholn and Fred Strodtbeck

• What is the societys dominant temporal
  orientation
• past
• present
• and / or future?

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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

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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

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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

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Constructing Cultural Metaphors

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

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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

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Edward T. Hall

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

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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

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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)

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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)

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Edward T. Hall

• Information flow,
• which is the structure and speed of messages
  between individuals and / or organizations

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Constructing Cultural Metaphors

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

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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

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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

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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

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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

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Geert Hofstede

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

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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

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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

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• 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

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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