Peoples and Cultures of Europe units of analysis / cultural metaphors

“units of analysis” may include: –one person (e.g., Paul Buffalo)Paul Buffalo –the family (e.g., Strodtbeck, see later) –the community –a region –a culture “Irish” “Chinese” “Mexicans” “Bedouins”

“units of analysis” may include: –a nation (“national character studies”) –the item or action itself (including “processes”) –a “cultural metaphor” (analogy, by means of cultural metaphors)

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

an important influence on American interest in European Spanish studies was an attempt to trace Latin American influences back to Spain Susan Parman, Europe in the Anthropological Imagination, pp Europe in the Anthropological Imagination

an important influence on American interest in European Spanish studies was an attempt to trace Latin American influences back to Spain Susan Parman, Europe in the Anthropological Imagination, pp Europe in the Anthropological Imagination

“By forcing his [sic.] imagination, through analogy, to follow the detailed conformations of some external and unpredictable subject, the scientist’s or artist’s invention gains a sureness it would not otherwise command.” “Invention is ‘controlled’ by the image of reality and the creator’s lack of awareness that he [sic.] is creating.” Roy Wagner (1975) Susan Parman, Europe in the Anthropological Imagination, p. 02Europe in the Anthropological Imagination

“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)

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 BullfightThe Spanish Bullfight Ch. 26. The Portuguese Bullfight

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 ConversationsIrish Conversations Ch. 14. The Danish Christmas Luncheon Ch. 15. French Wine...

Gannon’s European Cultural Metaphors include Ch. 17. The Traditional British HouseThe Traditional British House Ch. 21.The Italian OperaThe Italian Opera Ch. 22. Belgian LaceBelgian Lace Ch. 24. The Russian BalletThe Russian Ballet Ch. 25. The Spanish BullfightThe Spanish Bullfight Ch. 26. The Portuguese BullfightThe Portuguese Bullfight

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 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, (ISBN: )

Cultural Metaphors unit of analysis is usually the nation or national culture applies to a group, but not to every individual within it

Cultural Metaphors unit of analysis is usually the nation or national culture –because a good amount of evidence suggests that there are commonalities across regional, racial, and ethnic groups within each of them that can be captured effectively by cultural metaphors

Cultural Metaphors unit of analysis is usually the nation or national culture –Understanding Global Cultures contains 28 metaphors (13 of the 28 are from Europe) –there are approximately 200 nations in the world 193 according to The Times World Atlas (2004)

Cultural Metaphors unit of analysis is usually the nation or national culture –Understanding Global Cultures contains 28 metaphors (13 of the 28 are from Europe) –REM: there are approximately 200 nations in the world 193 according to The Times World Atlas (2004)

Ken Livingston, mayor of London England, indicated that there were over 300 languages spoken in London. (Following the terrorist attack of July 2005) Communication

How many languages are spoken in St. Paul Minnesota ? Communication

Culture Counts and it counts quit a bit

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 Geert Hofstede Cultural Metaphors include, in addition, the items on p. 11 of Gannon’s book...

Cultural Metaphors include... religion early socialization and family structure small group behavior public behavior leisure pursuits and interests

Cultural Metaphors include... total Lifestyle –work / leisure / home and time allocations to each of them aural space –the degree to which members of a society react negatively to high noise levels roles and status of different members of a society

Cultural Metaphors include... holidays and ceremonies greeting behavior humor

Cultural Metaphors include... language –oral and written communication

Cultural Metaphors include... non-oral communication –body language kinesics (motion) proxemics (space)

Cultural Metaphors include... sports –as a reflection of cultural values political structure of a society the educational system of a society

Cultural Metaphors include... traditions and the degree to which the established order is emphasized history of a society –but only as it reflects cultural mind-sets, or the manner in which its members think, feel, and act –not a detailed history

Cultural Metaphors include... food and eating behavior

Cultural Metaphors include... social class structure rate of technological and cultural change organization of and perspective on work –such as a society’s commitment to the work ethic, superior-subordinate relationships, and so on any other categories that are appropriate

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

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 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 etics –from “phonetics” –viewing a culture from the outside more on the “emics” and “etics” later

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

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

Fig Process, Goals, and Expression of Emotions (p. 12) Open Expression of Emotions and Feelings Degree to which process must be emphasized before goals can be discussed LowerHigher Lower England, Ireland, and Scotland United States and Germany Higher China, Japan, and India Mexico, Spain, and Italy More on the “Four-Stage Model” later, time permittingFour-Stage Model

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

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 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 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 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

“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.”

“... 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 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 the cultural mind- set of a nation and comparing it to other nations...

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

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 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 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 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 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 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 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 each society –but other metaphors may also be suitable

Gannon’s European Cultural Metaphors include Ch. 6.The Turkish CoffehouseThe Turkish Coffehouse Ch. 8. The Polish Village ChurchThe Polish Village Church Ch. 10. The German SymphonyThe German Symphony Ch. 11. The Swedish StugaThe Swedish Stuga Ch. 12. Irish ConversationsIrish Conversations Ch. 14. The Danish Christmas LuncheonThe Danish Christmas Luncheon Ch. 15. French Wine...French Wine

Gannon’s European Cultural Metaphors include Ch. 17. The Traditional British HouseThe Traditional British House Ch. 21.The Italian OperaThe Italian Opera Ch. 22. Belgian LaceBelgian Lace Ch. 24. The Russian BalletThe Russian Ballet Ch. 25. The Spanish BullfightThe Spanish Bullfight Ch. 26. The Portuguese BullfightThe Portuguese Bullfight

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 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 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 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 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 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 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 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 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 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 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 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 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 present and / or future?

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 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 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 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 Geert Hofstede

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

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 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 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 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 between individuals and / or organizations”

Constructing Cultural Metaphors Florence Kluckholn and Fred Strodtbeck Edward T. Hall 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 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 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 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 aggressive and materialistic behavior

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 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 –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

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...

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