Intercultural communication

Summary

Intercultural communication is a discipline that studies communication across different cultures and social groups, or how culture affects communication. It describes the wide range of communication processes and problems that naturally appear within an organization or social context made up of individuals from different religious, social, ethnic, and educational backgrounds. In this sense, it seeks to understand how people from different countries and cultures act, communicate, and perceive the world around them. Intercultural communication focuses on the recognition and respect of those with cultural differences. The goal is mutual adaptation between two or more distinct cultures which leads to biculturalism/multiculturalism rather than complete assimilation. It promotes the development of cultural sensitivity and allows for empathic understanding across different cultures. Intercultural communication is the idea of knowing how to communicate in different parts of the world. Intercultural communication uses theories within groups of people to achieve a sense of cultural diversity. This is in the hopes of people being able to learn new things from different cultures. The theories used give people an enhanced perspective on when it is appropriate to act in situations without disrespecting the people within these cultures; it also enhances their perspective on achieving cultural diversity through the ideas of intercultural communication. Many people in intercultural business communication argue that culture determines how individuals encode messages, what medium they choose for transmitting them, and the way messages are interpreted. With regard to intercultural communication proper, it studies situations where people from different cultural backgrounds interact. Aside from language, intercultural communication focuses on social attributes, thought patterns, and the cultures of different groups of people. It also involves understanding the different cultures, languages and customs of people from other countries.

Official source

https://en.wikipedia.org/wiki/Intercultural_communication

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This thesis questions the fundamentals and modes characterising the European architects' way of looking at Japanese architecture and garden art between 1870 and 1940. It establishes the corpus of the major writings and of other texts published by their Occidental and Japanese contemporaries in English, French and German. We analyse the writings' major issues, outstanding specifics and realisations. We detect and describe the creation of a modern Japan-ness through the writings of four major protagonists. Firstly, Josiah Conder was professor of Architectural History and Theory at Tokyo Imperial College and later considered as the "father of modern architecture" in Japan. We discuss his articles and books, published between 1877 and 1893, as being inaugural as well as forerunners of Japan-ness. Between 1903 and 1910, the architect Chûta Itô and the art historian Kakuzô Okakura gave its premises in their publications. The engineer Franz Baltzer as well as the architects Ralph A. Cram and Frank Lloyd Wright confirmed some of these ideas in their books published between 1903 and 1912. Secondly, we study writings from an architect who never traveled to Japan : Robert Mallet-Stevens. His articles, written in France from 1911 et 1913, were an indirect reference to Conder's articles. Thirdly, we analyse the theoretical and innovative works published by Bruno Taut between 1924 and 1937. We look at the way in which he valued and consolidated an intercultural Japan-ness. We question the existence of a Japan-ness in garden arts' writings. We establish how his contemporaries spread Japan-ness specificities : the architects Wajiro Kon, Kôji Fujii, Tetsuro Yoshida, Sutemi Horiguchi, Wells Coates, Richard Neutra and Antonin Raymond, the art historian Jirô Harada, the landscape designers – Tsuyoshi Tamura, Percy. S. Cane et Christopher Tunnard –, and the writer Jun'ichiro Tanizaki. We identify which specificities had already been defined by Itô, Kon and Horiguchi before Taut validation. Fourthly, Charlotte Perriand confirmed this established modern Japan-ness as a source of inspiration with her notes taken during her stay in Japan between 1940 and 1941. The thesis chronicles the impact of her notes onto some of her realisations in Japan and later in France. Thanks to this comparative analysis of texts, the thesis argues that the European gaze towards Japan is reflecting its preoccupations towards justifications for its own architectural development. This gaze is also orientated by the interests of the Japanese themselves. These are looking for an international recognition of their traditional architecture. We describe then how Japan-ness is created through writings and how it works as an appropriation of modernity enabling Japanese architecture to step in an avant-garde role. This creation follows two stages. The first one is a process of distinction from Asian architecture by identification and reinforcement of Japanese specifics. At its core lies the discourse upon the differences of the Japanese shintoist and zen soul. The second one is a process of sorting out common specificities with Western avant-garde ones. This time, the discourse concerns abstract similarities. The whole set of Japan-ness specificities defines an intercultural architecture which distinguishes itself both from Japonisme and from Occidentalisme. Lastly, the results show the profits gained by this European gaze and taken into account in their own architecture.

EPFL2009