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Building on our Rich Heritage - unesdoc - Unesco

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112<br />

Language, by c<strong>on</strong>trast, does not seem to be so directly bound to the envir<strong>on</strong>ment. As a matter<br />

of fact, language may not be so superb a work (as an instrument), as the novel prize winner (novelist)<br />

Jun’ichiro Tanizaki <strong>on</strong>ce remarked. Not necessarily being a superb organ of thought and expressi<strong>on</strong>,<br />

a language is full of ambiguities, idiosyncracies and irregularities (residues). The fact that linguistic<br />

diversity is (much) greater than n<strong>on</strong>-linguistic culture, to me, seems to suggest that language<br />

is not a mere instrument. N<strong>on</strong>-material culture is probably less diverse because of its direct functi<strong>on</strong>ality,<br />

or because it serves more specific purposes (One might think that language may not have<br />

developed as just a means of communicati<strong>on</strong>, but may more likely be a case of exaptati<strong>on</strong>).<br />

I would now like to turn to another aspect of language (or want to stress it here), which is<br />

that lexic<strong>on</strong> may be a reflex of a people’s unique envir<strong>on</strong>ment. Language has its own “grooves” (Sapir<br />

1921) by which the lexic<strong>on</strong> is manipulated for thought and expressi<strong>on</strong>. This is the questi<strong>on</strong> of ,<br />

in which, it is interesting to note, morphology shows much greater diversity than syntax.<br />

Morphology deals with words which are mere “forms”. As Edward Sapir wrote: ‘the word is merely a<br />

form, a definitely molded entity that takes in as much or as little of the c<strong>on</strong>ceptual material of the<br />

whole thought as the genius of the language cares to allow’ (1921: 32; italic mine).<br />

In the space between Sapir’s lines <strong>on</strong>e may read the thoughts of Enedetto Croce, which I<br />

believe showed profound insight in saying: linguistics is ‘nothing other than the Aesthetic’ estetica<br />

as investigati<strong>on</strong> of a fundamental capacity of human beings and ‘aesthetic activity is…a matter of<br />

giving form, and nothing other than a matter of giving form’ (1992 [1902]: 17, 20). Incidentally, I<br />

would understand that use of “forms” in human language, which leads to its diversity, comes from<br />

the cognitive and physiologic limits of the brain and the articulatory organ <strong>on</strong> which it relies.<br />

A form is not necessarily (or so directly) bound with functi<strong>on</strong>, a marked c<strong>on</strong>trast with syntax<br />

which is directly functi<strong>on</strong>al in terms of communicati<strong>on</strong>. It would be the lesser (or more indirect) functi<strong>on</strong>ality<br />

that yields diversity, as is the case with language itself vs. n<strong>on</strong>-linguistic culture (above). No<br />

w<strong>on</strong>der, a word as a “form” can take in as much or as little of c<strong>on</strong>tent, hence much freedom or variability<br />

of morphology (vs. language universals more favored by syntacticians).<br />

Coupled together, lexic<strong>on</strong> and grammar characterizes a unique language, which ensures a<br />

vast variety of means of thought (or reas<strong>on</strong>ing) and expressi<strong>on</strong>.<br />

A linguistic “groove” may be illustrated with <strong>on</strong>e feature permeating in Central Alaskan Yupik,<br />

a polysythetic language. Note that each of the two below is a single word (not a phrase or a sentence)<br />

and both use the same transitive c<strong>on</strong>structi<strong>on</strong> in which the first pers<strong>on</strong> is the subject (‘he’ is<br />

actually the object) - as the inflecti<strong>on</strong> -aqa at the end shows:<br />

a. irnia-q-aqa ‘he is my child’<br />

b. ange-n-q-aqa ‘he is bigger than me’

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