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433 Chapter Seven Cosmos For the Matsigenka of Shimaa, kameti ...

433 Chapter Seven Cosmos For the Matsigenka of Shimaa, kameti ...

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far more quickly than I could write. Then, a few days or weeks later, I might ask <strong>the</strong> name <strong>of</strong><br />

ano<strong>the</strong>r object and be told, “Don’t you remember? I told you <strong>the</strong> name <strong>of</strong> that before!” Once<br />

<strong>the</strong>y recovered from <strong>the</strong>ir surprise at my ignorance, many <strong>Matsigenka</strong>s genuinely enjoyed<br />

naming things as a way to teach me about <strong>the</strong>ir world.<br />

As powerful as this simple eliciting technique is for acquiring lists <strong>of</strong> words for things, it<br />

teaches little about how <strong>the</strong> <strong>Matsigenka</strong> order <strong>the</strong>ir universe and give it meaning. As I tried to<br />

move from <strong>the</strong> exhuberant naming <strong>of</strong> diversity to some order <strong>of</strong> groupings and relations,<br />

however, <strong>the</strong> <strong>Matsigenka</strong> found my efforts perplexing, <strong>of</strong>ten boring. If <strong>the</strong>ir enthusiasm for<br />

supplying names ultimately exceeded mine, <strong>the</strong>ir enthusiasm for discovering pattern and<br />

organization--a typology or structure <strong>of</strong> <strong>the</strong> world--was much less. It was not that <strong>the</strong>y did not<br />

want me to discover it, but ra<strong>the</strong>r that it was not something <strong>the</strong>y were used to reflecting upon or<br />

talking about.<br />

It is not that patterning is absent. The problem is better described as one <strong>of</strong> too many<br />

patterns, each generated by separate organizing principles. Just as a complex geometric<br />

sculpture appears to change form as it is viewed from different angles, <strong>the</strong> <strong>Matsigenka</strong> may be<br />

said to rotate <strong>the</strong> world and view it from different perspectives according to <strong>the</strong> conditions and<br />

purposes <strong>of</strong> <strong>the</strong> moment. And <strong>the</strong>ir culture, to a degree, codifies <strong>the</strong>se different perspectives in<br />

lexicon and grammar.<br />

The cultural model <strong>of</strong> <strong>the</strong> <strong>Matsigenka</strong> world described here is a result <strong>of</strong> two research<br />

processes: one, systematic focused interviews intended to uncover <strong>the</strong> structure <strong>of</strong> <strong>the</strong><br />

<strong>Matsigenka</strong> conception <strong>of</strong> <strong>the</strong> world; <strong>the</strong> o<strong>the</strong>r, induction from texts copied into pocket<br />

notebooks during on-site conversations. The first has <strong>the</strong> advantage <strong>of</strong> emphasizing <strong>the</strong> pattern<br />

437

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