Publications

Abstract

This volume presents 22 tales from the Trobriand Islands told by children (boys between the age of 5 and 9 years) and adults. The monograph is motivated not only by the anthropological linguistic aim to present a broad and quite unique collection of tales with the thematic approach to illustrate which topics and themes constitute the content of the stories, but also by the psycholinguistic and textlinguistic questions of how children acquire linearization and other narrative strategies, how they develop them and how they use them to structure these texts in an adult-like way. The tales are presented in morpheme-interlinear transcriptions with first textlinguistic analyses and cultural background information necessary to fully understand them. A summarizing comparative analysis of the texts from a psycholinguistic, anthropological linguistic and philological point of view discusses the underlying schemata of the stories, the means narrators use to structure them, their structural complexity and their cultural specificity. The e-book is made available under a CC BY-NC-ND 4.0 license.

Abstract

Some Trobriand Islands string figures by Stephan Claassen, Best, the Netherlands, and Joseph D'Antoni, Queens, New York, USA, in cooperation with Gunter Senft, Max Planck Institute for Psycholinguistics, Nijmegen, Netherlands (pages 72-128) - The construction and execution of fourteen string figures from the Trobriand Islands is given, along with accompanying chants (in the original, and in translation) and comparative notes. The figures were made during a 1984 string figure performance by two ladies in the village of Tauwema, on the island of Kaile’una. The performance was filmed by a team of German researchers. One of the figures appears to be not recorded before, and the construction method of another figure was hitherto unknown. Some of the other figures have their own peculiarities.

Abstract

The contributions to this book concern the documentation, archiving and revitalization of endangered language materials. The anthology focuses mainly on endangered Oceanic languages, with articles on Vanuatu by Darrell Tryon and the Marquesas by Gabriele Cablitz, on situations of loss and gain by Ingjerd Hoem and on the Kilivila language of the Trobriands by the editor. Nick Thieberger, Peter Wittenburg and Paul Trilsbeek, and David Blundell and colleagues write about aspects of linguistic archiving. Under the rubric of revitalization, Margaret Florey and Michael Ewing write about Maluku, Jakelin Troy and Michael Walsh about Australian Aboriginal languages in southeastern Australia, whilst three articles, by Sophie Nock, Diana Johnson and Winifred Crombie concern the revitalization of Maori.

Abstract

Seit 1982 erforsche ich die Sprache und die Kultur der Trobriand-Insulaner in Papua-Neuguinea. Nach inzwischen 15 Reisen zu den Trobriand-Inseln, die sich bis heute zu nahezu vier Jahren Leben und Arbeit im Dorf Tauwema auf der Insel Kaile'una addieren, wurde ich von Markus Schindlbeck und Alix Hänsel dazu eingeladen, den Mitgliedern der „Berliner Gesellschaft für Anthropologie, Ethnologie und Urgeschichte“ über meine Feldforschungen zu berichten. Das werde ich im Folgenden tun. Zunächst beschreibe ich, wie ich zu den Trobriand-Inseln kam, wie ich mich dort zurechtgefunden habe und berichte dann, welche Art von Forschung ich all die Jahre betrieben, welche Formen von Sprach- und Kulturwandel ich dabei beobachtet und welche Erwartungen ich auf der Basis meiner bisherigen Erfahrungen für die Zukunft der Trobriander und für ihre Sprache und ihre Kultur habe.

Abstract

The book documents the Trobriand Islanders' typology of genres. Rooted in the 'ethnography of speaking/anthropological linguistics' paradigm, the author highlights the relevance of genres for researching language, culture and cognition in social interaction and the importance of understanding them for achieving linguistic and cultural competence. Data presented is accessible via the internet.

Abstract

Visiting the Trobriand Islands is advertised as being the highlight of a trip for tourists to Papua New Guinea who want, and can afford, to experience this 'ultimate adventure' with 'expeditionary cruises aboard the luxurious Melanesian Discoverer. The advertisements also promise that the tourists can 'meet the friendly people' and 'observe their unique culture, dances, and art'. During my research in Kaibola and Nuwebila, two neighbouring villages on the northern tip of Kiriwina Island, I studied and analysed the encounters of tourists with Trobriand Islanders, who sing and dance for the Europeans. The analyses of the islanders' tourist performances are based on Erving Goffman's now classic study The Presentation of Self in Everyday Life, which was first published in 1959. In this study Goffmann analyses the structures of social encounters from the perspective of the dramatic performance. The situational context within which the encounter between tourists and Trobriand Islanders takes place frames the tourists as the audience and the Trobriand Islanders as a team of performers. The inherent structure of the parts of the overall performance presented in the two villages can be summarized - within the framework of Goffman's approach - in analogy with the structure of drama. We find parts that constitute the 'exposition', the 'complication', and the 'resolution' of a drama; we even observe an equivalent to the importance of the 'Second Act Curtain' in modern drama theory. Deeper analyses of this encounter show that the motives of the performers and their 'art of impression management' are to control the impression their audience receives in this encounter situation. This analysis reveals that the Trobriand Islanders sell their customers the expected images of what Malinowski (1929) once termed the '...Life of Savages in North-Western Melanesia' in a staged 'illusion'. With the conscious realization of the part they as performers play in this encounter, the Trobriand Islanders are in a position that is superior to that of their audience. Their merchandise or commodity is 'not real', as it is sold 'out of its true cultural context'. It is staged - and thus cannot be taken by any customer whatsoever because it (re)presents just an 'illusion'. The Trobriand Islanders know that neither they nor the core aspects of their culture will suffer any damage within a tourist encounter that is defined by the structure and the kind of their performance. Their pride and self-confidence enable them to bring their superior position into play in their dealings with tourists. With their indigenous humour, they even use this encounter for ridiculing their visitors. It turns out that the encounter is another manifestation of the Trobriand Islanders' self-consciousness, self-confidence, and pride with which they manage to protect core aspects of their cultural identity, while at the same time using and 'selling' parts of their culture as a kind of commodity to tourists.