By Edward C. Stewart, Milton J. Bennett
This learn of yankee behavioural and concept styles analyzes Americans' perceptual strategies and the way they distinction with the methods of considering different cultures. The textual content covers language and non-verbal behaviour and breaks down cultural styles into 4 dimensions: kind of job, type of social family members, notion of the area, and belief of the self. This examine is helping the reader study the cultural dimensions of communique and their implications for cross-cultural interplay.
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Additional resources for American Cultural Patterns: A Cross-Cultural Perspective
Based on these observations, we can see that human perception resembles a Janus-like figure consisting of two faces, one looking inward and one looking outward (Piatt 1968, 63-64). The inward-looking face is associated with subjective processes of perceiving and thinking such as perspective, intuition, opinions, and beliefs. The outward-looking face monitors features of the physical world and registers sensory impressions of objects which in the case of "vision," for instance, are attributes such as shape, color, texture, and size.
Both for the Chinese and Japanese, the thinking process is seen as much less deep than it is by Americans and other Westerners. External social roles and relationships, for instance, receive much more emphasis than the nature of one's thought processes. Put differently, the Chinese and Japanese tend to have a highly developed sociological sense but make relatively little use of psychological analyses. The difference between Buddhist and Western approaches to perception appear in the distinction between operations of the brain.
An example occurs with the analog perception of the natural world in continuous gradations and variations. Blue gradually merges into green since no boundary exists that clearly separates them. But language itself establishes discrete categories. There is no ambiguity between the words green and blue but when these two labels are appl ied to represent the hues of sea, sky, or palms, ambiguous areas of the continuum—blue-green, green-blue—make accurate description more difficult. These ambiguous areas usually receive longer names (aquamarine vs.