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 - 14Europe in the Anthropological Imagination

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 - 16Europe in the Anthropological Imagination

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 - 16Europe in the Anthropological Imagination

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 - 16Europe in the Anthropological Imagination

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 - 16Europe in the Anthropological Imagination

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/index.html#text

14. 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...

15. www.d.umn.edu/cla/faculty/troufs/anth1095/Ireland.html#title

16. http://www.carn.com/IrishTales.htm

17. 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

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. http://www.d.umn.edu/cla/faculty/troufs/anth3635/cetexts.html#BasqueHistory Mark Kurlansky The Basque History of the World. NY: Penguin Books, 1999. (ISBN: 0140298517)

21. 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

22. Fig. 1.1. 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

23. 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

24. 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

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”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

27. “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

28. “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

29. “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

30. Fig. 1.1. 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

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 IBM’s 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.”

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 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.”

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 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

46. 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

47. 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

48. 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

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

52. 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

53. 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

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 Gannon’s 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 Gannon’s 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 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”

58. 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”

59. 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”

60. 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”

61. 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

62. 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

63. 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?”

64. 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?”

65. 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?”

66. 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?”

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

68. Florence Kluckholn and Fred Strodtbeck 6.“What is the society’s 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 1.“Context, or the amount of information that must be explicitly stated if a message or communication is to be successful”

75. 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

76. 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”)

77. 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”)

78. Edward T. Hall 4.“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. –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 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

82. 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

83. 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

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

85. 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

86. 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

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 Gannon’s book...

89. http://www.d.umn.edu/cla/faculty/troufs/anth1095/index.html#text

90. 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