Publications

Abstract

Daylong at-home audio recordings from 10 Tseltal Mayan children (0;2–3;0; Southern Mexico) were analyzed for how often children engaged in verbal interaction with others and whether their speech environment changed with age, time of day, household size, and number of speakers present. Children were infrequently directly spoken to, with most directed speech coming from adults, and no increase with age. Most directed speech came in the mornings, and interactional peaks contained nearly four times the baseline rate of directed speech. Coarse indicators of children's language development (babbling, first words, first word combinations) suggest that Tseltal children manage to extract the linguistic information they need despite minimal directed speech. Multiple proposals for how they might do so are discussed.

Abstract

This article makes the case for the universality of the sequence organization observable in informal human conversational interaction. Using the descriptive schema developed by Schegloff (2007), we examine the major patterns of action-sequencing in a dozen nearly all unrelated languages. What we find is that these patterns are instantiated in very similar ways for the most part right down to the types of different action sequences. There are also some notably different cultural exploitations of the patterns, but the patterns themselves look strongly universal. Recent work in gestural communication in the great apes suggests that sequence organization may have been a crucial route into the development of language. Taken together with the fundamental role of this organization in language acquisition, sequential behavior of this kind seems to have both phylogenetic and ontogenetic priority, which probably puts substantial functional pressure on language form.

Abstract

How do different languages treat a particular semantic domain? It has already been established that languages have widely varied words for talking about “cutting” and “breaking” things: for example, English has a very general verb break, but K’iche’ Maya has many different ‘break’ verbs that are used for different kinds of objects (e.g., brittle, flexible, long). The aim of this task is to map out cross-linguistic lexicalisation patterns in the cutting/breaking domain. The stimuli comprise 61 short video clips that show one or two actors breaking various objects (sticks, carrots, pieces of cloth or string, etc.) using various instruments (a knife, a hammer, an axe, their hands, etc.), or situations in which various kinds of objects break spontaneously. The clips are used to elicit descriptions of actors’ actions and the state changes that the objects undergo.

Abstract

The spatial vocabulary of the Mayan language Tzeltal is dominated by an Absolute system of spatial reckoning, whereby an "uphill/downhill" coordinate abstracted from the lay of the land is used to reckon spatial relationships on the horizontal in both small-scale and long distance space. This system is used in lieu of a Front/Back/Left/Right system which does not exist in this language. The spatial vocabulary dedicated to this system (which I refer to in general as the UP/DOWN vocabulary) includes intransitive motion verbs (roughly translatable as "ascend"/"descend"), their transitivized counterparts ("make it ascend/descend"), directional adverbs ("uphillwards"/"downhillwards"), and possessed relational nouns ("uphill/downhill in relation to it"). This same vocabulary applies to spatial relations on the vertical axis. Two seemingly contradictory observations about children's early meanings for the spatial verbs dedicated to this system motivate the proposal put forward in this paper. On the one hand, Tzeltal children's UP/DOWN vocabulary shows very early sensitivity to the semantic structure of the language they are learning: the meanings for these verbs are from the first usages attached to the slope of the land, and to particular places; there is no evidence of an initial preference for the vertical meaning. On the other hand, children's meanings remain for a long time too specific, and errors of interpretation/production (using the verbs to mean 'local slope of land' rather than 'overall N/S slope of land direction) are evident in verbal productions of some children as late as age 7 or 8. The proposal is made that the highly specific nature of Tzeltal verbs at the basic level influences the children's hypotheses about what kinds of meanings verbs can have.

Abstract

This is a reprint of the Brown 1999 article.

Abstract

This is an encyclopedia entry surveying research and theoretical approaches to politeness phenomena in language usage.

Abstract

How are events framed in narrative? Speakers of English (a 'satellite-framed' language), when 'reading' Mercer Mayer's wordless picture book 'Frog, Where Are You?', find the story self-evident: a boy has a dog and a pet frog; the frog escapes and runs away; the boy and dog look for it across hill and dale, through woods and over a cliff, until they find it and return home with a baby frog child of the original pet frog. In Tzeltal, as spoken in a Mayan community in southern Mexico, the story is somewhat different, because the language structures event descriptions differently. Tzeltal is in part a 'verb-framed' language with a set of Path-encoding motion verbs, so that the bare bones of the Frog story can consist of verbs translating as 'go'/'pass by'/'ascend'/ 'descend'/ 'arrive'/'return'. But Tzeltal also has satellite-framing adverbials, grammaticized from the same set of motion verbs, which encode the direction of motion or the orientation of static arrays. Furthermore, vivid pictorial detail is provided by positional verbs which can describe the position of the Figure as an outcome of a motion event; motion and stasis are thereby combined in a single event description. (For example:  jipot jawal "he has been thrown (by the deer) lying­_face_upwards_spread-eagled". This paper compares the use of these three linguistic resources in Frog Story narratives from  Tzeltal adults and children, looks at their development in the narratives of children, and considers the results in relation to those from Berman and Slobin's (1996) comparative study of adult and child Frog stories.