Publications

Abstract

As a turn-design strategy, repeating another has been described for English as a fairly restricted way of constructing a response, which, through re-saying what another speaker just said, is exploitable for claiming epistemic primacy, and thus avoided when a second speaker has no direct experience. Conversations in Mesoamerican languages present a challenge to the generality of this claim. This paper examines the epistemics of dialogic repetition in video-recordings of conversations in three Indigenous languages of Mexico: Tzeltal and Yucatec Maya, both spoken in southeastern Mexico, and Lachixío Zapotec, spoken in Oaxaca. We develop a typology of repetition in different sequential environments. We show that while the functions of repeats in Mesoamerica overlap with the range of repeat functions described for English, there is an additional epistemic environment in the Mesoamerican routine of repeating for affirmation: a responding speaker can repeat to affirm something introduced by another speaker of which s/he has no prior knowledge. We argue that, while dialogic repetition is a universally available turn-design strategy that makes epistemics potentially relevant, cross-cultural comparison reveals that cultural preferences intervene such that, in Mesoamerican conversations, repetition co-constructs knowledge as collective process over which no individual participant has final authority or ownership.

Abstract

The rate at which young children are directly spoken to varies due to many factors, including (a) caregiver ideas about children as conversational partners and (b) the organization of everyday life. Prior work suggests cross-cultural variation in rates of child-directed speech is due to the former factor, but has been fraught with confounds in comparing postindustrial and subsistence farming communities. We investigate the daylong language environments of children (0;0–3;0) on Rossel Island, Papua New Guinea, a small-scale traditional community where prior ethnographic study demonstrated contingency-seeking child interaction styles. In fact, children were infrequently directly addressed and linguistic input rate was primarily affected by situational factors, though children’s vocalization maturity showed no developmental delay. We compare the input characteristics between this community and a Tseltal Mayan one in which near-parallel methods produced comparable results, then briefly discuss the models and mechanisms for learning best supported by our findings.

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.