PAPER
The Types and Different Crying Meaning Between West Culture and East Culture (In This Case West Culture is Representatived by England and East Culture is Respentatived by Japan).
By
Putu Agus Bratayadnya
Chapter I
Introduction
1.1 Background
The cognitive scenario (Which is readily translatable into any other language) is presented in the meaning of this English word as typical rather than necessary, for one can say in English for example, “I feel sad-I Don’t why” (cf. Johnson-Laired and Oatley 1989). What this shows is that by describing my feeling as “sadness” I would be saying, in effect, That I feel like a person who actually thinks some such thoughts. One of the cognitive scenarios “single out” by the English lexicon and encoded in the word sad.
Some aspects Japanese Culture ethos Embedded in nonverbal communicative behaviour should be always kept in mind that translation is not simply a matter of language, but also of cross cultural transfer. Today, many works in one language are translated into other languages. A translator must be versed in the cultural traits such as attitudes, values, beliefs, and social rules that are shared by a group of people in the cultures of both source and target languages. This because, without information on these cultural traits, the reader will find it extremely difficult to obtain a complete picture that a given novel in a foreign language intends to present.
This also applies to the translation of nonverbal behaviour, because nonverbal communication pattern are to a large extent, culturally determined. Although the actions of crying or smiling, for example, are universally performed, in what situation, in what manner, for what proposes, and with what meanings people cry or smile determined by their culture.
This paper will consider the nonverbal behaviour typical of Japanese people and culture. The focus of discussion will be those patterns which often appear incomprehensible or inscrutable from the eyes of non-Japanese, paying special attention to the gestures of eye-movement, crying and smiling. The study of these patterns will clarify the important characteristics of Japanese people’s psychology and socio-cultural norms/needs/values in society.
The primary purpose of this paper is to examine if these psychological and socio-cultural aspects associated with Japanese nonverbal behaviour can be translated into some concise and explicable form which would be accurately comprehended by non-Japanese people. This is because simply using English terms for explaining Japanese concepts or norms will lead English readers to interpret Japanese behaviour through the prism of their own culture. Wierzbicka clearly articulates this problem of explaining non-cultural specific concepts in term of English words (e.g. Wierzbicka 1991 a:1991b). Although they are useful as a first approximation, they are English words, and they do not accurately present the Japanese point of view.
If we want to define concepts or norms of Japanese culture in a way which is truly free of ethnocentrism and is explanatory, we must do so by means of explicit semantic formulas, such as those offered by the “semantic primitives” approach proposed by Wierzbicka (See e.g. 1991a; 1992; 1995; In press) In this approach, a “natural semantic metalanguage(NSM)” is used as a tool. These NSM words are “maximally clear, maximally simple and maximally universal” in the sense of having absolute equivalents in all the languages in the world, and thus are intuitively understandable to people any culture. This metalanguage enables us to explicate cultural concepts attached to Japanese nonverbal behaviour in simple words and grammar which are understandable to anyone in a non-ethno-biased way.
IMPORTANCE OF NON-VERBAL COMMUNICATION IN JAPAN
Communication between people contains both verbal and non-verbal messages. Since nonverbal message are closely interwoven with verbal messages, as Knapp(1980: 11) mentions, ‘verbal and nonverbal communication should be treated as a total and inseparable unit”. There are even situations where messages are encoded are nonverbal alone(Poyantos 1981:116).
Moreover, when there is an inconsistency between the message conveyed by verbal and nonverbal behaviour, people tend to interpret the former in term in of the latter, ”using nonverbal behaviour as a sort of check on the validity, dependability or sincerity of the verbal message:”(Arndt & Janney 1987:369). E Hall (1977:71) supports this view by saying: the body’s message seldom lie and come much closer to what the person true but sometimes unconscious feelings are than does spoken word”.
The next passage is a good illustration of this point. Here a girl thinks that her mother is laughing only for appearance’s sake, judging by her plain facial expression rather than by her screechy laughter.
1) “Okaasan wa watashi to futari kiri no toki ni wa, kao ga donna ni waratte ite mo, koe o tatenai. Keredomo, okyakusama to ohanashi shite iru toki ni wa, kao wa chittomo waratte nakuete, koe bakari kandakku waratte iru.” [JS:92]
(JàE. When Mother and I are alone, no matter how big a smile she might have on her face, she never laughs out loud. But when she’s with guests she’ll screech with laughter, even though there won’t be a trace of a smile on her face) . [SG:74]
This is consistent with Mehrabian’s (1972) observation that facial expressions carry more information about emotions, more than tone of voice and much more than the verbal concept of speech. Thus, nonverbal behaviour is an important indicator of one’s feelings or thinking.
Nonverbal communication functions more importantly in Japanese culture than in Anglo culture. This is because Japanese depend relatively less on verbal communication. The report by Caudill and Winstein (1969) suggest that this more limited dependency on verbal communication can be explained when we look at the Japanese way of rearing children. They conducted a comparative study a child-rearing method in Japan and the United State, and observed that Japanese mothers would emphasize physical contact over verbal interaction with their babies; while American mothers emphasize verbal interaction rather than physical contact. They found that, as a result of this early experience. Japanese are more likely to rely on feelings and intuition and will make more conscious use of many forms of nonverbal communication in human relations compared to Americans.
A Japanese proved “iwanu wa ni masaru(not saying anything is better than saying something” (noguchy 1980:81-2) reflects the belief that people’s intentions or feelings are more deeply and strongly conveyed nonverbally strongly rather than verbally. In Japan, it is believed that explicit expression of one thinking and feelings goes against the Japanese sense of virtue. With this kind of belief, Japanese people come to be less skilled than those of other cultures in expressing their thinking or feeling verbally. Therefore, for example a Japanese women who lived for thirty years in The United States observed that American Psychotherapy, which encourages the patient to articulate their thoughts or feelings verbally, would not be suitable for Japanese patients (Yanagihara 1994:105)
Despite this lesser degree of dependence on verbal communication. Japanese people can communicate quite well amongst each other. This is because in Japanese society, people’ feeling and desires can be sensed by others on the basic of minimal verbal or non verbal clues. As Clause (1986:232-235) points out, the Japanese are trained to read the minds of the other people when their children.. Thus, Japanese people believe their feelings can be sensed by other people without explicit expression.
In this kind of environment, people can encode relatively wide range of gestures which differ only subtly, yet very greatly in their meaning. Therefore, in Japan, it is the ‘modest and subtle’ shigusa (gesture) which is more appreciated than a ‘free and emphatic’ miburi (gesticulation), which is often considered as ostentatious display. (Tada 1972:28)
In Japanese society, Where empathetic sensing communication is possible, subtle nonverbal gestures can have a significant functions as message indicators. Therefore, identifying and understanding these subtle gesture is essential when communicating with Japanese people.
1.2. Scope of problem
- The different point of view between British and Japanese crying meaning.
1.3. Aims of writing
In this research there are threes purposes, there are: General aim, specific aim and academic aim. The purpose can be explained as follow:
General the purpose of this scientific writing is to build up in my knowledge of Cross Culture Communication, especial British and Japanese culture.
Specifically, trough the analysis, we can understanding the different point of view between British and Japanese crying meaning.
Academically purpose is to fulfill one of the academic requirements of Cross Culture Communication subject as the middle test exam.
1.4. The Research use
This research is useful to know the British and Japanese Culture (for the academic result) and the different point of view between British and Japanese crying meaning (for the practice result).
1.5. Methodology
The method is the way that is used in solving the problem or to achieve something. Methodology is very important in doing an analysis, because it will help the readers to understand our analyzed. Without methodology the analysis will be considered invalid and unreliable. I would like to research, concern with the field research.
1.5.1. Research Planning
The research in this homework use quantitative method and used British and Japanese person as informants.
1.5.2. Research location
The research location is located at Brata 1 Homestay at Hanoman Street number 51 Ubud Gianyar.
1.5.3. Data Source
The data used in this research were taken from informants who name are Mark Hinde from UK and he is one of teacher staff at an famous education institution named IALF (Indonesian Australia Language Foundation) and Noriko Miyake is teacher pension from Osaka Japan . The informants choose with purposive way.
1.5.4. Data collection
The data were collected from the visitors of Brata 1 Homestay. There three steps when collected the data:
1) first made appointment with the informans,
2) second interview the informans with crying topic used British and Japanese point of view.
Then after interview, the result which is wrote in paper text were collected and analyzed to find the different point of view between British and Japanese crying meaning.
1.5.5. Data Analysis.
The steps of analysis are,
1) first understanding the point of view British and Japanese crying meaning by reading carefully, and then
2) the second is, compare the point of view British crying meaning with point of view Japanese crying meaning.
3) The last step is presented the data analyzed based on the theories of Anna Wierzbicka in her book Emotions across Languages and Cultures (1999: 38) and Rie Hasada cited Anna Wierzbicka in her book Cross-Cultural Communication. (1996: 113).
BAB II
Theoretical Bases
When research the theory is a must: a good theory will give a good result too.
When writing this homework supported theories by Anna Wierzbicka in her book Emotions across Language and Cultures (1999:38) and Rie Hasada cited Anna Wierzbicka in her book Cross-Cultural Communication, 1996 : 113.
Chapter III
Research Finding
3.1. Data Presentation
The cognitive scenario (Which is readily translatable into any other language) is presented in the meaning of this English word as typical rather than necessary, for one can say in English for example, “I feel sad-I Don’t why” (cf. Johnson-Laired and Oatley 1989). What this shows is that by describing my feeling as “sadness” I would be saying, in effect, That I feel like a person who actually thinks some such thoughts. One of the cognitive scenarios “single out” by the English lexicon and encoded in the word sad.
In Japan, learning to control one’s expression of emotions, particularly negative ones, is regarded as an indispensable part of ones growth. The direct display of uncontrolled emotions, especially on the face, is regarded as unrefined and graces (Kanayama 1978: 159) or as “sign of weakness and is always in extremely bad taste” (Zimmerman 1985:57).
For example, a Japanese woman who had lived away from Japan states that the reason why she could not adapt herself to Japanese society was because she always her emotions externally. She recollects that her unrestrained display of emotions threatened Japanese men. (Yanagihara 1994: 183).
Therefore, outward strong emotional expressions such as crying or showing tears in public are disdained by others and such action cause embarrassment to the onlookers. This especially applies to males; they are also expected to try to suppressor hide their tears. If tears can’t be stop at all.
Tada (1972; 224-226) is correct when he mentions that when Japanese people looks at other person crying, they are more impressed by the person attempt to suppress or hide their tears than by their tear themselves. The following extract from a Japanese traditional “jooruri” play, written by Chikamatsu in Edo period, supports this view. In Lizumi (1963; 240):
1) “….Namida tashinamu kaotsuki wa nakisakebu yori aware nite……”
(MT: The sight of their faces trying to stop shedding their tears look more pitiful than if they were desperately crying……)
Therefore, when a man cries, suppression as seen in the following example is more acceptable:
2) “(Tomoko no chichioya wa) nigirikobushi ni shita katate o me ni atete, ano otokonaki to iu keiyoo ni, te-he-he ito iu yoo na koe o tatete, nakidashita no de aru…ku-ku-ku-ku to inkoo e koe o nonde naku no de aru.”
(JàE: (Tomoko’s father) brought one clenched list to his eye and then— just as they describe a man grieving— his voice rose in a sharp, choking cry and began to sob.)
than the following unrepressed crying, which is disdained, even at the funeral of the subject’s own mother:
3) “Dokyoo ga owatta toki. Shintaroo no oetsu wa hitokiwa ookiku kaisoosha-tachi no zujoo ni nagarete.(…) Taihan ga Shintaroo no shuutai o waratte ita.”
(JàE: Once the chatingwas over, Shintaroo’s hysterical sobbing could be heard throughout the room. (…) most of (the guests) were laughing at shintaroo’s ridiculous behaviour.)
Thus, a negative image is attached to the overt expression of emotions by means
of crying. Therefore, Japanese people mention their own crying, they describe it as a spontaneous occurrence of “tear”, and not as their own voluntary action. The following example, where the English Phrase from a popular song is compared to the corresponding Japanese translation, can illustrate this:
4) “Otokonoka ga onnanoko o kanashimasete iru tokoro ni naru to,
(JàE: When they get to the part/ Where he’s breaking her heart)
Namida ga dete kichau.”
(JàE: it can really make me cry.) [Carpenteer & Bettis 1973]
The gloss for the Japanese phrase ‘namida ga dete kichau’ as the translation of English phrase”…me(I) cry…” is as follows:
Namida ga dete ki -chau
tears SUB flow come end up doing
‘-chau’ is the contracted spoken form of ‘te + shimau’, and refers in this context to “end up doing—contrary to one’s original plan” (cf. Jorden & Noda 1988: 98). Here, the action of crying in English is rendered in Japanese as the experiencer’s tears, which is meant to imply that is wasn’t brought out by a person involving internal emotional activity;
On the other hand, when Japanese phrase ‘namida da deru’ (tears comeout)’ is translated into English, it is replaced with the expression like ‘I cry’ or ‘I weep’, which indicates that this is the personal emotional activity:
5) “Tainen o jiwatasarete… Aruhi, futo jibun no takoro e mawasarete kuru shorui ga shidaini hette kite iru koto ni ki ga shidaini hette kite iru koto ni ki ga tsuita toki no shoogeki. (Ano toki wa namida ga deta.)”
(JàE: After he had been told of his retirement, one day he was shocked to realize that the documents he was been asked to handle were gradually decreasing in number. [broken down and cried.]
6) “Watashi wa konya wa, ii kimochi deshita. Bunji-san to Eija-san to anata to, rippa na kodomo ga sannin narande suwatte iru tokoro o mitara, namida ga deru hodo, ureshikatta’.”
(JàE: I feel very good night. When I saw you and bunji and Eiji sitting next to one another. I was so happy [almost wept’.]
From these examples We can see that the Japanese have a negative image about being the active agent of crying. This Japanese view can be portrayed in the following semantic formula:
a) when people see tears in my eyes
I don’t want people to think about me like this:
“this person is doing something”
I want people to think about me like this:
Something is happening to this person”
I want people to think that I didn’t know that this would happen to me.
We should note, however, that this doesn’t mean that Japanese dislike crying or shedding tear as such. In fact, the opposite appears to be the case. For example, word like ‘cry’ or ‘tear’ frequently appear in enka (Japanese ballades), or in the catch-phrases used for advertising movies such as “(Kono eiga wa) nakasemasu ([this movie] will make you cry)”, which really appeal to Japanese people. Furthermore, Sato (1989: 21-23) observes, scenes of men crying can be found in Japanese movies more frequently than in American movies, although the Japanese way of crying or shedding tears is performed in a subtle way.
The fact is that Japanese people, although they understand the desire to cry or shed tears are well aware of the cultural norm which inhibits its direct manifestation. Honna and Hoffer (1989:88) remark that strong expression (verbal or nonverbal) of negative emotions could embarrass other people. That is way, when the Japanese cannot help expressing these emotions, they should do so ‘in a form that is neither offensive nor aesthetically” (March 1988:152).
This Japanese cultural norm which disapproves of open display of crying (or negative emotions in general) can be portrayed as follows:
b) when a person feels something bad
it is bad if this person shows this to other people
other people can feel something bad because of this
sometimes when a person shows this,
other people don’t feel something bad
because of the way this person shows it
if a person cannot not show it,
it is good if this person shows it like this
3.2. Analysis
From the interview with informans Mark Hinde and Noriko Miyake the research have result like this:
According Rie Hasada cited Anna Wierzbicka in her book entitled Cross-Cultural Communication (1996:113), describe only five types of Japanese cry but my informan(Noriko Miyake) describe there are six types of Japanese cry.
- The comparison
| No | Rie Hasada | Noriko Miyake/Informan | |
| 1.
2. 3. 4. 5. |
Namida Tashinamu (eg. number 1)
Oetsu Otokunaki No name Ureshinaki |
1.
2. 3. 4. 5. 6. |
Namida Tashinamu
*Gookyuu Oetsu Otokunaki *Shizuka na namida Ureshinaki |
For the second types of Japanese crying according by the informan, *Gookyuu means crying with loud sound and with much tear but not like Namida Tashinamu as the biggest Japanese crying and then for the five, in Rie Hasada cited Anna Wierzbicka book entitled Cross-Cultural Communication (1996:113), has no name but my informan said it can called *shizuka na namida
- The describing of Japanese crying by action and sound
| No | Names | Action | Sound |
| 1.
2. 3. 4. 5. 6. |
Namida tashinamu
Gookyuu Oetsu Otokonaki Shizuka na namida Ureshinaki |
Very A lot of tear
Much tear First the soldier move up and down. Second much tear. Little tear Little tear Tear come out is not on purpose |
Very loud sound
Loud sound Sound is not too loud Sound is weak (ku..ku..ku) No sound No sound |
- The British informan(Mark Hinde) describe there are only two types of British cry in British culture. First is Cry with sound and second is not with sound. In British cultural there no naming for cry as in Japanese culture.
– The describing of British crying by action and sound
| No | Names | Action | Sound |
| 1.
2. |
No name
No name |
Tear
Little tear |
Sound
No sound |
- The research use view in Lizumi (1963:240) above; in Rie Hasada cited Anna Wierzbicka in her book entitled Cross-Cultural Communication (1996:113), as the illustrations the different point of view between British man and women with Japanese man and women crying situation:
| No | Condition | British man | British women | Japanese man | Japanese women |
| 1.
2. 3. 4. 5. |
If cry
(e.g. no 1) Taihan/ one of family die Someone hurt some one Tainen/ Pension Happy |
Go to empty
place Cry Cry Not Cry Cry |
Crying
Cry Cry Not Cry Cry |
Must not cry with press one of his hand (as the symbol of powerful)
Not Cry Not Cry Cry Not Cry |
Hiding her cry use both of her hand.
Cry Not cry Cry Cry |
- Japanese and British friend reaction.
If there is Japanese girl cry in front of people, her friend should try to make her to stop cry and it situation same in UK if there is British women cry in front of people her friend should try to make her to stop cry but there is different point of view between man cry meaning. If British man usually go to hidden place if he want to cry so his friend can not see when he is cry but If Japanese man cry in front of people, it is ridiculous behaviour in Japanese culture and if friend of Japanese man see it, his friend left him and his friend act that not see him cry.
Chapter IV
Conclusion
Based on the foregoing analysis and discussion, the following points can be drawn as conclusion:
The point of view Japanese crying meaning is different with the point of view British crying meaning. The point of view for Japanese women is little bit same with British women but Japanese girl cry that she tries to hide her tear use both of her hand because in Japanese culture crying it is means you are weak. But for Japanese man not cry in front of people, it is a must. If Japanese man want to cry that they press his right hand and say I must not cry because I am Japanese man . In Japanese culture if Japanese man cry in front of people in Japanese point of view is ridiculous behaviour except if his mother died. In this situation Japanese man can cry as many and loud he want. So there is wise word Japanese “Japanese man can crying only once in his life in front of other people when his mother died”. Besides this sometimes when Japanese pension at 60 years old (in Japan called teinen) Japanese man usually cry too but he cry like Otokonaki (ku-ku-ku-) types. British man should not cry in front of people. If British man want to cry they looking empty place. But for British cultures if British man cry in front of other people is not ridiculous behaviour because if British man watching movie in Box Office sometimes he can cry too for expression his emotion or sympathy.
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