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A Basic Course in Anthropological Linguistics (Studies in Linguistic ...

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DISCOURSE AND VARIATION 123<br />

other k<strong>in</strong>ds of words, often function as anaphoric and cataphoric particles <strong>in</strong><br />

conversations.<br />

The forego<strong>in</strong>g discussion highlights the fact that sentences are not<br />

constructed as autonomous structures, but rather as parts of larger discourse<br />

units. In this view of sentence composition, it is obvious that sentence grammar<br />

tells only a small part of the story. Personal pronouns, for <strong>in</strong>stance, are chosen<br />

typically to function as anaphoric or cataphoric devices serv<strong>in</strong>g conversational<br />

needs.<br />

There are many k<strong>in</strong>ds of such devices <strong>in</strong> conversation. Their function is<br />

to keep the conversation flow<strong>in</strong>g smoothly with m<strong>in</strong>imal effort. Another such<br />

device is known as a gambit. A gambit is a word or phrase used to open a<br />

conversation, to keep it go<strong>in</strong>g, to make it smooth, to repair any anomaly with<strong>in</strong><br />

it, and thus to maximize its economy. The follow<strong>in</strong>g are common English<br />

gambits:<br />

(1) Uhhuh...yeah...hmm...aha...<br />

(2) You agree with me, don’t you?<br />

(3) May I ask you a question?<br />

(4) He arrived Monday; sorry, I meant Tuesday.<br />

The grunt-like expressions uttered <strong>in</strong> (1) are part of a strategy for<br />

acknowledg<strong>in</strong>g that one is listen<strong>in</strong>g to an <strong>in</strong>terlocutor, especially on the phone.<br />

Total silence is not an appropriate gambit <strong>in</strong> English, although it may be <strong>in</strong><br />

other languages. The gambit <strong>in</strong> (2) is called a tag question-it is a question<strong>in</strong>g<br />

strategy that is designed to seek approval, agreement, consent, not an answer.<br />

Utterance (3) is an open<strong>in</strong>g gambit for start<strong>in</strong>g, tak<strong>in</strong>g a turn, or enter<strong>in</strong>g <strong>in</strong>to<br />

a conversation. In English, expressions such as May I? Sorry, but could you<br />

tell me.. . ? Excuse me? are all open<strong>in</strong>g gambits. Utterance (4) is a gambit known<br />

as a repair. When there is a m<strong>in</strong>or breakdown <strong>in</strong> a conversation, or someth<strong>in</strong>g<br />

is not expla<strong>in</strong>ed properly, then repairs allow the speaker to solve the problem.<br />

DISCOURSE<br />

In the previous chapter, the notion of speech act was <strong>in</strong>troduced. A speech act<br />

is an utterance that aims to br<strong>in</strong>g about, modify, curtail, or irhbit some real<br />

action. The utterance Be carejid!, for <strong>in</strong>stance, would have the same effect as<br />

putt<strong>in</strong>g a hand <strong>in</strong> front of someone to block him or her from cross<strong>in</strong>g the road<br />

carelessly. The statement I sentence you to life imprisonment uttered by a

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