Peoples and Cultures of Europe

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

2. “The Four-Stage Model of Anallysis”

3. we sometimes include Europe in anthropology specifically because we want to test the universality of anthropological models • Hoffman • Shutes Susan Parman, Europe in the Anthropological Imagination, pp. 11 - 14

4. the item or action itself as a Unit of Analysis

5. on the other hand, going to Europe was essential in the anthropological imagination because it validated the universality of anthropological models • thus separating it from its image as a discipline relevant only to the study of the exotic, the “primitive,” and the non-West Susan Parman, Europe in the Anthropological Imagination, pp. 14 - 16

6. on the other hand, going to Europe was essential in the anthropological imagination because it validated the universality of anthropological models • thus separating it from its image as a discipline relevant only to the study of the exotic, the “primitive,” and the non-West Susan Parman, Europe in the Anthropological Imagination, pp. 14 - 16

7. according to Mark T. Shutes, this same motivation lay behind George Peter Murdock attempting to add more European material to the Human Relations Area Files, so as to expand the scope of ethnographic examples Susan Parman, Europe in the Anthropological Imagination, pp. 14 - 16

8. according to Mark T. Shutes, this same motivation lay behind George Peter Murdock attempting to add more European material to the Human Relations Area Files, so as to expand the scope of ethnographic examples Susan Parman, Europe in the Anthropological Imagination, pp. 14 - 16

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

14. Gannon’sEuropean Cultural Metaphorsinclude Ch. 6. The Turkish Coffehouse Ch. 8. The Polish Village Church Ch. 10. The German Symphony Ch. 11. The Swedish Stuga Ch. 12. Irish Conversations Ch. 14. The Danish Christmas Luncheon Ch. 15. French Wine . . .

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

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

17. Gannon’sEuropean Cultural Metaphorsinclude Ch. 17. The Traditional British House Ch. 21. The Italian Opera Ch. 22.  Belgian Lace Ch. 24. The Russian Ballet Ch. 25. The Spanish Bullfight Ch. 26. The Portuguese Bullfight

18. Cultural Metaphors • cultural metaphors can be derived for ethnic groups within and across nations • e.g., Anishinabe (Chippewa; Ojibwa) • e.g., Rom (Gypsies) • e.g., Irish “Travellers” • sometimes incorrectly called “Gypsies” • e.g., Kurds (in Turkey) • e.g., Basques

19. Cultural Metaphors • cultural metaphors can be derivedfor ethnic groups within and across nations • e.g., Anishinabe (Chippewa; Ojibwa) • e.g., Rom (Gypsies) • e.g., Irish “Travellers” • sometimes incorrectly called “Gypsies” • e.g., Kurds (in Turkey) • e.g., Basques

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

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

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

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

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

25. Emics / Etics emics • from “phonemics” • viewing a culture from the inside etics • from “phonetics” • viewing a culture from the outside more on the “emics” and “etics” later

26. “Four-Stage Model” One variable of 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

27. “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

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

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

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

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.”

34. “Given such studies, it seems that culture influences between 25% and 50% of our attitudes, whereas other aspects of workforce diversity, such as social class, ethnicity, race, sex, and age, account for the remainder of these attitudinal differences.”

35. “Frequently, when a foreigner violates a key cultural value, he or she is not even aware of the violation, and no one brings the matter to his or her attention.” • once a visitor makes a major mistake it is frequently impossible to rectify it • and it may well take several months to realize that polite rejections really signify isolation and banishment

36. “Frequently, when a foreigner violates a key cultural value, he or she is not even aware of the violation, and no one brings the matter to his or her attention.” • once a visitor makes a major mistake it is frequently impossible to rectify it • and it may well take several months to realize that polite rejections really signify isolation and banishment including proxemics kenisics

37. “Frequently, when a foreigner violates a key cultural value, he or she is not even aware of the violation, and no one brings the matter to his or her attention.” • once a visitor makes a major mistake it is frequently impossible to rectify it • and it may well take several months to realize that polite rejections really signify isolation and banishment

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

39. “. . . knowing a 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.”

40. “. . . 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 • four-cell typology of process / goal orientation • more specificity • inclusion of other “etic” of culture-general dimensions along which specific cultures have been shown to vary • cultural metaphors are employed for understanding a culture • they build on the “etic” understanding provided by the approaches used in the first three stages

46. Cultural Metaphors • In essence the cultural metaphor involves identifying some phenomenon, activity, or institution of a 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