Publications

Abstract

This article presents information about two so far undescribed buildings made by the Trobriand Islanders, the bomiyoyeva and the bomduvadova. These structures are connected to the highest-ranking chiefs living in Labai and Omarakana on Kiriwina Island. They highlight the power and eminence of these chiefs. After a brief report on the history of this project, the structure of the two houses, their function, and their use is described and information on their construction and their mythical background is provided. Finally, everyday as well as ritual, social, and political functions of both buildings are discussed. [Melanesia, Trobriand Islands, Tabalu chiefs, yams houses, bomiyoyeva, bomduvadova, authoritative capacities]

Abstract

Is there a universal hierarchy of the senses, such that some senses (e.g., vision) are more accessible to consciousness and linguistic description than others (e.g., smell)? The long-standing presumption in Western thought has been that vision and audition are more objective than the other senses, serving as the basis of knowledge and understanding, whereas touch, taste, and smell are crude and of little value. This predicts that humans ought to be better at communicating about sight and hearing than the other senses, and decades of work based on English and related languages certainly suggests this is true. However, how well does this reflect the diversity of languages and communities worldwide? To test whether there is a universal hierarchy of the senses, stimuli from the five basic senses were used to elicit descriptions in 20 diverse languages, including 3 unrelated sign languages. We found that languages differ fundamentally in which sensory domains they linguistically code systematically, and how they do so. The tendency for better coding in some domains can be explained in part by cultural preoccupations. Although languages seem free to elaborate specific sensory domains, some general tendencies emerge: for example, with some exceptions, smell is poorly coded. The surprise is that, despite the gradual phylogenetic accumulation of the senses, and the imbalances in the neural tissue dedicated to them, no single hierarchy of the senses imposes itself upon language.

Abstract

Bronislaw Malinowski – based on his experience during his field research on the Trobriand Islands – pointed out that language is first and foremost a tool for creating social bonds. It is a mode of behavior and the meaning of an utterance is constituted by its pragmatic function. Malinowski’s ideas finally led to the formation of the subdiscipline “anthropological linguistics”. This paper presents three observations of the Trobrianders’ attitude to their language Kilivila and their language use in social interactions. They illustrate that whoever wants to successfully research the role of language, culture and cognition in social interaction must be on ‘common ground’ with the researched community.

Abstract

As I have already pointed out elsewhere (Senft 2008; 2010; 2014), the Gricean conversational maxims of Quality – “Try to make your contribution one that is true” – and Manner “Be perspicuous”, specifically “Avoid obscurity of expression” and “Avoid ambiguity” (Grice 1967; 1975; 1978) – are not observed by the Trobriand Islanders of Papua New Guinea, neither in forms of their ritualized communication nor in forms and ways of everyday conversation and other ordinary verbal interactions. The speakers of the Austronesian language Kilivila metalinguistically differentiate eight specific non-diatopical registers which I have called “situational-intentional” varieties. One of these varieties is called “biga sopa”. This label can be glossed as “joking or lying speech, indirect speech, speech which is not vouched for”. The biga sopa constitutes the default register of Trobriand discourse and conversation. This contribution to the workshop on philosophy and pragmatics presents the Trobriand Islanders’ indigenous typology of non-diatopical registers, especially elaborating on the concept of sopa, describing its features, discussing its functions and illustrating its use within Trobriand society. It will be shown that the Gricean maxims of quality and manner are irrelevant for and thus not observed by the speakers of Kilivila. On the basis of the presented findings the Gricean maxims and especially Grice’s claim that his theory of conversational implicature is “universal in application” is critically discussed from a general anthropological-linguistic point of view.

Abstract

To understand the underlying principles of categorisation and classification of sensory input semantic analyses must be based on both language and culture. The senses are not only physiological phenomena, but they are also linguistic, cultural, and social. The goal of this task is to explore and describe sociocultural patterns relating language of perception, ideologies of perception, and perceptual practice in our speech communities.

Abstract

The Gricean maxim of Quality “Try to make your contribution one that is true” and his maxim of Manner “Be perspicuous” are not observed in Kilivila, the Austronesian language of the Trobriand Islanders of Papua New Guinea. Speakers of Kilivila metalinguistically differentiate registers of their language. One of these varieties is called biga sopa. This label can be glossed as “joking or lying speech, indirect speech, speech which is not vouched for.” The biga sopa constitutes the default register of Trobriand discourse. This article describes the concept of sopa, presents its features, and discusses and illustrates its functions and use within Trobriand society. The article ends with a discussion of the relevance of Gricean maxims for the research of everyday verbal interaction in Kilivila and a general criticism of these maxims, especially from an anthropological linguistic perspective. [Trobriand Islanders, Gricean maxims, varieties of Kilivila, Kilivila sopa, un-plain speaking]

Abstract

The paper describes how the documentation of a popular song of the adolescents of Tauwema in 1982 lead to the collection of the myth of Imdeduya and Yolina, one of the most important myths of the Trobriand Islands. When I returned to my fieldsite in 1989 Tokunupei, one of my best consultants in Tauwema, remembered my interest in the myth and provided me with further information on this topic. Tokunupei's teachings open up an important access to Trobriand eschatology.

Abstract

After a brief introduction to the topic the paper first gives an overview of Kilivila landscape terms and then presents the inventory of names for villages, wells, island points, reef-channels and gardens on Kaile’una Island, one of the Trobriand Islands in the Milne Bay Province of Papua New Guinea. The data on the meaning of the place names presented were gathered in 2004 with six male consultants (between the age of 36 and 64 years) living in the village Tauwema on Kaile’una Island. Thus, the list of place names is quite possibly not the complete sample, but it is reasonably representative of the types of Kilivila place names. After discussing the meaning of these terms the paper presents a first attempt to typologically classify and categorize the place names. The paper ends with a critical discussion of the landscape terms and the proposed typology for place names.

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.