Publications

Abstract

This paper describes how the Trobriand Islanders of Papua New Guinea used to construct their big seagoing masawa canoes and how they used to make their sails, what forms of different knowledge and expertise they needed to do this during various stages of the construction processes, how this knowledge was socially distributed, and the social implications of all the joint communal activities that were necessary until a new canoe could be launched. Then it tries to answer the question why the complex distributed knowledge of how to make a masawa has been gradually getting lost in most of the village communities on the Trobriand Islands; and finally it outlines and discusses the implications of this loss for the Trobriand Islanders' culture, for their social construction of reality, and for their indigenous cognitive capacities.

Abstract

This entry takes an interdisciplinary approach to linguistic pragmatics. It discusses how the meaning of utterances can only be understood in relation to overall cultural, social, and interpersonal contexts, as well as to culture-specific conventions and the speech events in which they are embedded. The entry discusses core issues of pragmatics such as speech act theory, conversational implicature, deixis, gesture, interaction strategies, ritual communication, phatic communion, linguistic relativity, ethnography of speaking, ethnomethodology, and conversation analysis. It takes a transdisciplinary view of the field, showing that linguistic pragmatics has its predecessors in other disciplines such as philosophy, psychology, ethology, ethnology, and sociology.

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.