Publications

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

This is an encyclopedia entry surveying anthropological approaches to cognition and culture.

Abstract

This paper reports the results of a study of Tzeltal questions and their responses, based on a collection of 419 question/response sequences drawn from video recordings of ‘maximally casual’ naturally occurring face-to-face interactions in a Tzeltal (Mayan) community. I describe the lexical and grammatical resources for formulating content and polar questions in Tzeltal, the different kinds of social actions that questions can be used to perform and their relative frequency in the data, and the characteristic properties of responses to questions. This is part of a large-scale comparative study of questions in 10 different languages, and we find that Tzeltal is like most others in making much more use of polar than of content questions, and in the strong tendency for confirming answers to polar questions. Tzeltal is however unusual in three respects: in the comparatively minimal use of gaze to select next speaker, in the frequency with which answers take the form of repeats, and in the complete absence of visible-only responses (e.g., nods or head-shakes). There are also some language-specific properties of question–answer sequences that reveal cultural shaping of sequencing in conversation.

Abstract

This is a Spanish translation of Brown 2002, 'Everyone has to lie in Tzeltal'. Translated by B. E. Alvaraz Klein

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.