By Edward C. Stewart, Milton J. Bennett
A drastically increased research of the 1972 vintage by means of Edward Stewart, Stewart and Bennett introduce new cross-cultural comparisons drawn from fresh learn on worth structures, conception psychology, cultural anthropology, and intercultural conversation. American cultural characteristics are remoted out, analyzed, and in comparison with parallel features of different cultures to find implications for cross-cultural interaction.
This research of yankee behavioural and proposal styles analyzes Americans' perceptual tactics and the way they distinction with the methods of deliberating different cultures. The textual content covers language and non-verbal behaviour and breaks down cultural styles into 4 dimensions: type of task, kind of social relatives, belief of the realm, and notion of the self. This examine is helping the reader research the cultural dimensions of verbal exchange and their implications for cross-cultural interplay.
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Additional info for American Cultural Patterns: A Cross-Cultural Perspective
But for others, history hardly mattered. S. entered the conflict) as beyond the struggles of the Old World. In the rising global capital of New York, as elsewhere around the world, it was possible to see America as nothing less than the home of the future: an amalgamation of races and nationalities living in a mechanized paradise of automobiles, airplanes, electricity, motion pictures, and stock ticker tape. And yet, even for writers who celebrated this sleek, mechanized America (for example, Dos Passos in Manhattan Transfer, 1925), there is also a strong critical awareness of the alienation of modern society and the degradation of modern mass culture.
Rodgers writes that the Harlem Renaissance novels, Jessie Fauset’s There is Confusion (1924), Claude McKay’s Home to Harlem (1928), Rudolph Fisher’s Walls of Jericho (1928), and Wallace Thurman’s Infants of the Spring (1932), are devoted to “bringing to life the hum and buzz of Harlem’s spirited, almost-human personality” (Rodgers: 78). Fisher’s and Thurman’s texts are amusing satires of Harlem’s emerging black bourgeoisie, and Thurman works in a subplot devoted to satirizing central figures of the Renaissance, including himself.
Important works of the period portray the perspective of a young immigrant child (Henry Roth’s Call it Sleep, 1934), a baby (William Carlos Williams’s White Mule, 1937), the insane and socially outcast (Djuna Barnes, Nightwood, 1936), and historical figures like the Viking explorer, Eric the Red (Williams, In the American Grain, 1925). William Faulkner frequently structured his narratives as composites of the perspectives of multiple characters. In As I Lay Dying (1930), the story of the death and burial of Addie Bundren is related from the limited first-person perspective of fifteen different characters.