INTERPRETATION OF CULTURES EB

Clifford Geertz

• Publisher: Fontana Press
• Year: 2016
• Print ISBN: 9780006862604
• eBook ISBN: 9780008219475
• Topic: Social Sciences
• Subtopic: Philosophical Essays
• Index: Social Sciences

'One of the most articulate cultural anthropologists of this generation. Geertz has consistently attempted to clarify the meaning of 'culture' and to relate that concept to the actual behavior of individuals and groups.' -Elizabeth Colson, Contemporary Sociology

A collection of essays which attempt to push forward a particular view of what culture is, what role it plays in social life and how it ought to be properly studied. What emerges is this book – a treatise in cultural theory developed through a series of concrete analyses.

PART I

Chapter 1 / Thick Description: Toward an Interpretive Theory of Culture

I

In her book, Philosophy in a New Key, Susanne Langer remarks that certain ideas burst upon the intellectual landscape with a tremendous force. They resolve so many fundamental problems at once that they seem also to promise that they will resolve all fundamental problems, clarify all obscure issues. Everyone snaps them up as the open sesame of some new positive science, the conceptual center-point around which a comprehensive system of analysis can be built. The sudden vogue of such a grande idée, crowding out almost everything else for a while, is due, she says, “to the fact that all sensitive and active minds turn at once to exploiting it. We try it in every connection, for every purpose, experiment with possible stretches of its strict meaning, with generalizations and derivatives.”

After we have become familiar with the new idea, however, after it has become part of our general stock of theoretical concepts, our expectations are brought more into balance with its actual uses, and its excessive popularity is ended. A few zealots persist in the old key-to-the-universe view of it; but less driven thinkers settle down after a while to the problems the idea has really generated. They try to apply it and extend it where it applies and where it is capable of extension; and they desist where it does not apply or cannot be extended. It becomes, if it was, in truth, a seminal idea in the first place, a permanent and enduring part of our intellectual armory. But it no longer has the grandiose, all-promising scope, the infinite versatility of apparent application, it once had. The second law of thermodynamics, or the principle of natural selection, or the notion of unconscious motivation, or the organization of the means of production does not explain everything, not even everything human, but it still explains something; and our attention shifts to isolating just what that something is, to disentangling ourselves from a lot of pseudoscience to which, in the first flush of its celebrity, it has also given rise.

Whether or not this is, in fact, the way all centrally important scientific concepts develop, I don’t know. But certainly this pattern fits the concept of culture, around which the whole discipline of anthropology arose, and whose domination that discipline has been increasingly concerned to limit, specify, focus, and contain. It is to this cutting of the culture concept down to size, therefore actually insuring its continued importance rather than undermining it, that the essays below are all, in their several ways and from their several directions, dedicated. They all argue, sometimes explicitly, more often merely through the particular analysis they develop, for a narrowed, specialized, and, so I imagine, theoretically more powerful concept of culture to replace E. B. Tylor’s famous “most complex whole,” which, its originative power not denied, seems to me to have reached the point where it obscures a good deal more than it reveals.

The conceptual morass into which the Tylorean kind of pot-au-feu theorizing about culture can lead, is evident in what is still one of the better general introductions to anthropology, Clyde Kluckhohn’s Mirror for Man. In some twenty-seven pages of his chapter on the concept, Kluckhohn managed to define culture in turn as: (1) “the total way of life of a people”; (2) “the social legacy the individual acquires from his group”; (3) “a way of thinking, feeling, and believing”; (4) “an abstraction from behavior”; (5) a theory on the part of the anthropologist about the way in which a group of people in fact behave; (6) a “store—house of pooled learning”; (7) “a set of standardized orientations to recurrent problems”; (8) “learned behavior”; (9) a mechanism for the normative regulation of behavior; (10) “a set of techniques for adjusting both to the external environment and to other men”; (11) “a precipitate of history”; and turning, perhaps in desperation, to similes, as a map, as a sieve, and as a matrix. In the face of this sort of theoretical diffusion, even a somewhat constricted and not entirely standard concept of culture, which is at least internally coherent and, more important, which has a definable argument to make is (as, to be fair, Kluckhohn himself keenly realized) an improvement. Eclecticism is self-defeating not because there is only one direction in which it is useful to move, but because there are so many: it is necessary to choose.

The concept of culture I espouse, and whose utility the essays below attempt to demonstrate, is essentially a semiotic one. Believing, with Max Weber, that man is an animal suspended in webs of significance he himself has spun, I take culture to be those webs, and the analysis of it to be therefore not an experimental science in search of law but an interpretive one in search of meaning. It is explication I am after, construing social expressions on their surface enigmatical. But this pronouncement, a doctrine in a clause, demands itself some explication.

II

Operationalism as a methodological dogma never made much sense so far as the social sciences are concerned, and except for a few rather too well-swept corners—Skinnerian behaviorism, intelligence testing, and so on—it is largely dead now. But it had, for all that, an important point to make, which, however we may feel about trying to define charisma or alienation in terms of operations, retains a certain force: if you want to understand what a science is, you should look in the first instance not at its theories or its findings, and certainly not at what its apologists say about it; you should look at what the practitioners of it do.

In anthropology, or anyway social anthropology, what the practioners do is ethnography. And it is in understanding what ethnography is, or more exactly what doing ethnography is, that a start can be made toward grasping what anthropological analysis amounts to as a form of knowledge. This, it must immediately be said, is not a matter of methods. From one point of view, that of the textbook, doing ethnography is establishing rapport, selecting informants, transcribing texts, taking genealogies, mapping fields, keeping a diary, and so on. But it is not these things, techniques and received procedures, that define the enterprise. What defines it is the kind of intellectual effort it is: an elaborate venture in, to borrow a notion from Gilbert Ryle, “thick description.”

Ryle’s discussion of “thick description” appears in two recent essays of his (now reprinted in the second volume of his Collected Papers) addressed to the general question of what, as he puts it, “Le Penseur” is doing: “Thinking and Reflecting” and “The Thinking of Thoughts.” Consider, he says, two boys rapidly contracting the eyelids of their right eyes. In one, this is an involuntary twitch; in the other, a conspiratorial signal to a friend. The two movements are, as movements, identical; from an I-am-a-camera, “phenomenalistic” observation of them alone, one could not tell which was twitch and which was wink, or indeed whether both or either was twitch or wink. Yet the difference, however unphotographable, between a twitch and a wink is vast; as anyone unfortunate enough to have had the first taken for the second knows. The winker is communicating, and indeed communicating in a quite precise and special way: (1) deliberately, (2) to someone in particular, (3) to impart a particular message, (4) according to a socially established code, and (5) without cognizance of the rest of the company. As Ryle points out, the winker has not done two things, contracted his eyelids and winked, while the twitcher has done only one, contracted his eyelids. Contracting your eyelids on purpose when there exists a public code in which so doing counts as a conspiratorial signal is winking. That’s all there is to it: a speck of behavior, a fleck of culture, and—voilà!—a gesture.

That, however, is just the beginning. Suppose, he continues, there is a third boy, who, “to give malicious amusement to his cronies,” parodies the first boy’s wink, as amateurish, clumsy, obvious, and so on. He, of course, does this in the same way the second boy winked and the first twitched: by contracting his right eyelids. Only this boy is neither winking nor twitching, he is parodying someone else’s, as he takes it, laughable, attempt at winking. Here, too, a socially established code exists (he will “wink” laboriously, overobviously, perhaps adding a grimace—the usual artifices of the clown); and so also does a message. Only now it is not conspiracy but ridicule that is in the air. If the others think he is actually winking, his whole project misfires as completely, though with somewhat different results, as if they think he is twitching. One can go further: uncertain of his mimicking abilities, the would-be satirist may practice at home before the mirror, in which case he is not twitching, winking, or parodying, but rehearsing; though so far as what a camera, a radical behaviorist, or a believer in protocol sentences would record he is just rapidly contracting his right eyelids like all the others. Complexities are possible, if not practically without end, at least logically so. The original winker might, for example, actually have been fake-winking, say, to mislead outsiders into imagining there was a conspiracy afoot when there in fact was not, in which case our descriptions of what the parodist is parodying and the rehearser rehearsing of course shift accordingly. But the point is that between what Ryle calls the “thin description” of what the rehearser (parodist, winker, twitcher . . .) is doing (“rapidly contracting his right eyelids”) and the “thick description” of what he is doing (“practicing a burlesque of a friend faking a wink to deceive an innocent into thinking a conspiracy is in motion”) lies the object of ethnography: a stratified hierarchy of meaningful structures in terms of which twitches, winks, fake-winks, parodies, rehearsals of parodies are produced, perceived, and interpreted, and without which they would not (not even the zero-form twitches, which, as a cultural category, are as much nonwinks as winks are nontwitches) in fact exist, no matter what anyone did or didn’t do with his eyelids.

Like so many of the little stories Oxford philosophers like to make up for themselves, all this winking, fake-winking, burlesque-fake-winking, rehearsed-burlesque-fake-winking, may seem a bit artificial. In way of adding a more empirical note, let me give, deliberately unpreceded by any prior explanatory comment at all, a not untypical excerpt from my own field journal to demonstrate that, however evened off for didactic purposes, Ryle’s example presents an image only too exact of the sort of piled-up structures of inference and implication through which an ethnographer is continually trying to pick his way:

The French [the informant said] had only just arrived. They set up twenty or so small forts between here, the town, and the Marmusha area up in the middle of the mountains, placing them on promontories so they could survey the countryside. But for all this they couldn’t guarantee safety, especially at night, so although the mezrag, trade-pact, system was supposed to be legally abolished it in fact continued as before.

One night, when Cohen (who speaks fluent Berber), was up there, at Marmusha, two other Jews who were traders to a neighboring tribe came by to purchase some goods from him. Some Berbers, from yet another neighboring tribe, tried to break into Cohen’s place, but he fired his rifle in the air. (Traditionally, Jews were not allowed to carry weapons; but at this period things were so unsettled many did so anyway.) This attracted the attention of the French and the marauders fled.

The next night, however, they came back, one of them disguised as a woman who knocked on the door with some sort of a story. Cohen was suspicious and didn’t want to let “her” in, but the other Jews said, “oh, it’s all right, it’s only a woman.” So they opened the door and the whole lot came pouring in. They killed the two visiting Jews, but Cohen managed to barricade himself in an adjoining room. He heard the robbers planning to burn him alive in the shop after they removed his goods, and so he opened the door and, laying about him wildly with a club, managed to escape through a window.

He went up to the fort, then, to have his wounds dressed, and complained to the local commandant, one Captain Dumari, saying he wanted his ’ar—i.e., four or five times the value of the merchandise stolen from him. The robbers were from a tribe which had not yet submitted to French authority and were in open rebellion against it, and he wanted authorization to go with his mezrag-holder, the Marmusha tribal sheikh, to collect the indemnity that, under traditional rules, he had coming to him. Captain Dumari couldn’t officially give him permission to do this, because of the French prohibition of the mezrag relationship, but he gave him verbal authorization, saying, “If you get killed, it’s your problem.”

So the sheikh, the Jew, and a small company of armed Marmushans went off ten or fifteen kilometers up into the rebellious area, where there were of course no French, and, sneaking up, captured the thief-tribe’s shepherd and stole its herds. The other tribe soon came riding out on horses after them, armed with rifles and ready to attack. But when they saw who the “sheep thieves” were, they thought better of it and said, “all right, we’ll talk.” They couldn’t really deny what had happened—that some of their men had robbed Cohen and killed the two visitors—and they weren’t prepared to start the serious feud with the Marmusha a scuffle with the invading party would bring on. So the two groups talked, and talked, and talked, there on the plain amid the thousands of sheep, and decided finally on five-hundred-sheep damages. The two armed Berber groups then lined up on their horses at opposite ends of the plain, with the sheep herded between them, and Cohen, in his black gown, pillbox hat, and flapping slippers, went out alone among the sheep, picking out, one by one and at his own good speed, the best ones for his payment.

So Cohen got his sheep and drove them back to Marmusha. The French, up in their fort, heard them coming from some distance (“Ba, ba, ba” said Cohen, happily, recalling the image) and said, “What the hell is that?” And Cohen said, “That is my ‘ar.” The French couldn’t believe he had actually done what he said he had done, and accused him of being a spy for the rebellious Berbers, put him in prison, and took his sheep. In the town, his family, not having heard from him in so long a time, thought he was dead. But after a while the French released him and he came back home, but without his sheep. He then went to the Colonel in the town, the Frenchman in charge of the whole region, to complain. But the Colonel said, “I can’t do anything about the matter. It’s not my problem.”

Quoted raw, a note in a bottle, this passage conveys, as any similar one similarly presented would do, a fair sense of how much goes into ethnographic description of even the most elemental sort—how extraordinarily “thick” it is. In finished anthropological writings, including those collected here, this fact—that what we call our data are really our own constructions of other people’s constructions of what they and their compatriots are up to—is obscured because most of what we need to comprehend a particular event, ritual, custom, idea, or whatever is insinuated as background information before the thing itself is directly examined. (Even to reveal that this little drama took place in the highlands of central Morocco in 1912—and was recounted there in 1968—is to determine much of our understanding of it.) There is nothing particularly wrong with this, and it is in any case inevitable. But it does lead to a view of anthropological research as rather more of an observational and rather less of an interpretive activity than it really is. Right down at the factual base, the hard rock, insofar as there is any, of the whole enterprise, we are already explicating: and worse, explicating explications. Winks upon winks upon winks.

Analysis, then, is sorting out the structures of signification—what Ryle called established codes, a somewhat misleading expression, for it makes the enterprise sound too much like that of the cipher clerk when it is much more like that of the literary critic—and determining their social ground and import. Here, in our text, such sorting would begin with distinguishing the three unlike frames of interpretation ingredient in the situation, Jewish, Berber, and French, and would then move on to show how (and why) at that time, in that place, their copresence produced a situation in which systematic misunderstanding reduced traditional form to social farce. What tripped Cohen up, and with him the whole, ancient pattern of social and economic relationships within which he functioned, was a confusion of tongues.

I shall come back to this too-compacted aphorism later, as well as to the details of the text itself. The point for now is only that ethnography is thick description. What the ethnographer is in fact faced with—except when (as, of course, he must do) he is pursuing the more automatized routines of data collection—is a multiplicity of complex conceptual structures, many of them superimposed upon or knotted into one another, which are at once strange, irregular, and inexplicit, and which he must contrive somehow first to grasp and then to render. And this is true at the most down-to-earth, jungle field work levels of his activity: interviewing informants, observing rituals, eliciting kin terms, tracing property lines, censusing households . . . writing his journal. Doing ethnography is like trying to read (in the sense of “construct a reading of”) a manuscript—foreign, faded, full of ellipses, incoherencies, suspicious emendations, and tendentious commentaries, but written not in conventionalized graphs of sound but in transient examples of shaped behavior.

III

Culture, this acted document, thus is public, like a burlesqued wink or a mock sheep raid. Though ideational, it does not exist in someone’s head; though unphysical, it is not an occult entity. The interminable, because unterminable, debate within anthropology as to whether culture is “subjective” or “objective,” together with the mutual exchange of intellectual insults (“idealist!”—“materialist!”; “mentalist!”—“behaviorist!”; “impressionist!”—“positivist!”) which accompanies it, is wholly misconceived. Once human behavior is seen as (most of the time; there are true twitches) symbolic action—action which, like phonation in speech, pigment in painting, line in writing, or sonance in music, signifies—the question as to whether culture is patterned conduct or a frame of mind, or even the two somehow mixed together, loses sense. The thing to ask about a burlesqued wink or a mock sheep raid is not what their ontological status is. It is the same as that of rocks on the one hand and dreams on the other—they are things of this world. The thing to ask is what their import is: what it is, ridicule or challenge, irony or anger, snobbery or pride, that, in their occurrence and through their agency, is getting said.

This may seem like an obvious truth, but there are a number of ways to obscure it. One is to imagine that culture is a self-contained “superorganic” reality with forces and purposes of its own; that is, to reify it. Another is to claim that it consists in the brute pattern of behavioral events we observe in fact to occur in some identifiable community or other; that is, to reduce it. But though both these confusions still exist, and doubtless will be always with us, the main source of theoretical muddlement in contemporary anthropology is a view which developed in reaction to them and i...

Table of contents

• Title Page
• Copyright
• Contents
• Preface
• Part I
• Part II
• Part III
• Part IV
• Part V
• Footnotes
• Index
• Acknowledgments
• About the Author
• Also By Clifford Geertz
• About the Publisher