Publications

Abstract

Die Sprachwissenschaft hat den Begriff und das Konzept ›Rituelle Kommunikation‹ von der vergleichenden Verhaltensforschung übernommen. Humanethologen unterscheiden eine Reihe von sogenannten ›Ausdrucksbewegungen‹, die in der Mimik, der Gestik, der Personaldistanz (Proxemik) und der Körperhaltung (Kinesik) zum Ausdruck kommen. Viele dieser Ausdrucksbewegungen haben sich zu spezifischen Signalen entwickelt. Ethologen definieren Ritualisierung als Veränderung von Verhaltensweisen im Dienst der Signalbildung. Die zu Signalen ritualisierten Verhaltensweisen sind Rituale. Im Prinzip kann jede Verhaltensweise zu einem Signal werden, entweder im Laufe der Evolution oder durch Konventionen, die in einer bestimmten Gemeinschaft gültig sind, die solche Signale kulturell entwickelt hat und die von ihren Mitgliedern tradiert und gelernt werden.

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

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

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.