Face, Harmony, and Social Structure: An Analysis of by P. Christopher Earley

By P. Christopher Earley

Face, concord, and Social Structure maintains writer P. Christopher Earley's investigations of the variations between humans inside of enterprises in several cultures. the concept that of "face," as set forth by means of Earley, is a mirrored image of the individual's fight for self-definition and realizing, of which a key part is a positioning of self relative to others is a social environment. Face is on the center of social habit and offers a constant linking mechanism to appreciate habit throughout cultures.

Earley makes use of this idea of face as a foundation for exam of cross-cultural organizational habit from an individual's own point of view. during this paintings, he develops a mid-range thought of person habit, self-concept, and interpersonal strategy with a purpose to clarify cultural modifications in organizational settings. He units up a cross-level version, after which makes an attempt to supply a unmarried coherent force--"face"--as an engine using the whole approach that may be used to combine a number of social and organizational mechanisms in predicting people's habit. This realizing of the way and why humans behave convinced methods is a serious software for learning the impression of person habit at the functioning of organizations.

Earley's paintings represents a brand new idea of self-presentation and face inside of a cross-cultural context, integrating a cross-level method starting from the person to the association and to the societal degrees of debate. Face, concord, and Social Structure is a really interdisciplinary paintings that brings components of psychology, sociology, and anthropology to organizational reports. it will likely be illuminating analyzing for execs and students of administration and organizational habit, in addition to to lecturers in cross-cultural psychology and anthropology.

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Extra info for Face, Harmony, and Social Structure: An Analysis of Organizational Behavior Across Cultures

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An important part of my framework is the assumption that the actor does not merely respond to particular contextual cues or influences. Quite the contrary, the actor actively shapes the nature of his or her organizational setting in order to facilitate personal and collective motives and desires. What this suggests, then, is that in order to understand the formation and shaping of a given organization, a researcher must understand the impact of a social actor on the formation processes. Further, understanding an actor's motives and style of interacting will help a researcher better understand this shaping process.

My conceptualization is useful for several reasons. First, I can use the hierarchical structure of a cognitive representation of person-in-society as a way of describing affective response to culturally relevant situations (Lord & Kernan, 1987). A hierarchical structure aids us in understanding why merely altering specific expectations may not be sufficient in integrating culture and work practices. Second, this approach provides a consistent means of integrating cultural-level influences with individuallevel actions.

It is the process through which actors' face is regulated and maintained in a given societal and organizational context. Cross-cultural researchers have identified four general types of ties among social actors that I will draw upon in discussing harmony. These ties come from the resource theory proposed by Fiske (1991), and they have been integrated into a concept of cultural values in recent work by Chen, Meindl, and Hunt (1996) and Triandis (1994). Social ties refer to the forms of interdependence that occur in relationships in a sense, and they dictate the expectations and rules that operate during exchange for people.

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