Functions of Language and Communication - Assignment 3

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Premkamon (Emma)

09067825

Functions of Language and Communication In this assignment, I address the key functions of language drawn from “The functions of language” (Finch, 2003) and, “The Cooperative Principle” (Finegan, 2008) for 172.131 Language & Communication. I have chosen one video (out of two alternatives) outlining what the 'metafunction’ or overall macro function is, paying close attention to its intended purpose. I will also emphasize the individuals use of a particular micro function clearly illustrated throughout the video. Further acknowledged will be other concepts discussed or learned in class in relevance to the language functions integrated into the genre and illustrating the video’s linguistic feature patterns.

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Janlar

Premkamon (Emma)

09067825

The video I have selected is an interview genre on a show called, “Kapa Tea” which was broadcasted on Māori Television featuring directors: Taika Waititi and Jermaine Clement in which they elaborate on their documentary, “What We Do in the Shadows".

At the start of the video, Miss Kihi uses her hand gestures to be more captivating and dominant as she directs the flow of the interview. Kihi communicates that she’s here with the “beautiful”, stating the director's names to exude a sense of charm (White, 2016). This can also be applied in the speech act theory (Finch, 2003), where the interviewer is focused on her performance and the ways she applies her communicative acts to appear accommodating. We might even say this can be a part of the interpersonal function in reference to the Macro function (Finch, 2003) by the way she linguistically presents herself to the interlocutors or people taking part of the conversation by progressively constituting a cordial relationship between Clement and Waititi through informal conversational style, interchangeably using jokes and showcasing a laid-back and casual attitude (Finch, 2003). We also notice another metafunction (to describe more than one macro function) called the poetic function (Finch, 2003) where the interviewer performs an interrogative speech act (Denham & Lobeck, 2019) by asking, “What DO you do in the shadows? What’s that all about?” (White, 2016) with emphasis on the command word ‘do’ as a micro function; native speakers recognise this as metaphoric/figurative language (Denham & Lobeck, 2019) and this attempt at creative expression is generally interpreted not literally but by the fact that Clement and Waititi do not physically lurk in the shadows, being made aware that the aim is to probe the director into revealing the plot of the documentary. This is also discussed in The Cooperative Principle by Grice (1987) as he clarifies that despite what is said and what is meant, we mutually expect to be understood or interpreted correctly (Finegan, 2008), we can also address the indirect speech act (Finegan, 2008) performed as the locution or the words actually said contrasts to the intended meaning, the play on words can be understood as a violation of a maxim (Finegan, 2008) with knowledge of the situational context creating awareness of linguistic competence (Tserdanelis & Wong, 2004). Therefore, Waititi and Clement can determine the intended semantics or meaning of the figurative language used which allows them to discuss the plot of their documentary with overall comprehension that vampires do lurk in the shadows.

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Premkamon (Emma)

09067825

In terms of the micro function, more specifically, the communicative function (Finch, 2003) analyzed in the video; Clement understands this as an indirect speech act (Finegan, 2008) and responds to the first question by explaining his plot interpretation when Waititi signals a speech utterance, “Um” but then looks to Clement to detect the social cue and prompts Clement to take over from him after the elaborate pause.

This indirect speech act is repeated again but in reference to the pragmatics of conversational implicature ((Denham & Lobeck, 2019). Kihi inquires on why there are only vampires in a selected area but has to further elaborate so that the hearer's interpretation is not misconstrued as criticism when she asks, “Waddup with the um, vampires in Wellington? What’s that all about? I mean why not Huntly?” (White, 2016) in a bewildered fashion so the question does not give the impression that this is a verbal attack. This is taken well by Clement and Waititi’s cheeky smiles because they detect Kihi is questioning them in a teasing manner. Denham and Lobeck (2019) highlight that language is never unambiguous and this can conversely be applied to the maxim of manner, which focuses on preventing vague misinterpretations in communication. Kihi adds further clarification by offering examples, “How bout KaikoHE?” (White, 2016) where she exaggerates the last bit of the town in a teasing manner as part of her informal speech act to not appear rude and interrogative and carry on the interview with Clement and Waititi being made aware that this is an attempt at light-hearted humor and not offense, a part of the maxim of conversation (Denham & Lobeck, 2019) which discusses that we follow social norms of conversation to avoid miscommunication.

Transitioning to the humour aspect of their communication styles, many examples of puns and figurative language are used collaboratively to create an amicable approach to the interview.

Clement uses wordplay to serve a poetic function (Finch, 2003), “Vampires we know” but the interviewer chooses not to respond when they claim the purpose of the documentary was based on knowing actual vampires. Waititi takes over by blatantly exclaiming, “We met these vampires...the New Zealand Documentary Board”, Kihi understands the joke and chooses not to react but is aware she can achieve a more natural flow of the interview through her metaphoric language ability when she adds, “So you fang it out”, Clement engages in this signal by repeating what she has as a form of mutual bonding. Sarcasm is another form of humor when Waititi says, “We only followed those ones” when Kihi asks about the vampires but changes back to wordplay when he asks Kihi if they, “Should change the signs to Vellington now?” (Smith, 2016).

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Premkamon (Emma)

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Respectively, Kihi has picked up that humour or rather, figurative language is now their common ground, going back and forth between exchanges of Transylvanian accents, songs and supernatural puns to ease into the conversation e.g when Clement asserts the way to remember his character's name is to associate it with Haddaway’s song “What is love” and replace it as a pun, “Vlad is love”. As a result, this builds on a foundation between themselves well enough for Clement and Waititi to not feel awkward when Kihi asks for a ‘selfie’ where they pose in multiple goofy gestures at the end of the video to the song “Let me take a selfie” by The Chainsmokers for theatrical effect.

Additionally, at the beginning of the video, Waititi and Clement’s body language in the interview is tense when we see Jermaine Clement is fidgeting, cross-legged, shoulders closed, spaced apart from everybody but right leg is facing towards them possibly nonverbally communicating that he is generally a reserved guy, self-contained but wants to somehow be a part of the conversation, meanwhile Waititi has his legs and arms to himself but is facing towards the interviewer to show that he is willing to interact but more tentative to communicate and maybe indicates aloofness.

Another signal of cultural understanding (Finegan, 2008) is the fact that Kihi addresses a video Waititi has directed by saying, “Kia Ora” as a sign of confirmation instead of a greeting. Overall, everybody in the interview maintains eye-contact to signal interest and consideration to the other people communicating.

In retrospect to what the video has displayed in terms of the macro and micro functions they support along with other language features learned in class; the importance the communication principle discussed by Grice (Finegan, 2008) is shared background and/or knowledge in understanding how the linguistics of language functions are applied in order to achieve intended results (more specifically, the utilization of humour in this genre) between hearers and speakers to accordingly construct a sense of solidarity (Holmes, 2000). In summary the implementation of perlocution or effect of what is said through open-ended questions by the interviewer to achieve successful interactions can be achieved if speakers and hearers establish a middle ground and also by how that style of communication is determined. Morever, if the interlocutor or the person that participates in the conversation even chooses to engage in that style or function.

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Janlar

Premkamon (Emma)

09067825

Reference List Denham, K. & Lobeck, A. (2019). Whystudy linguistics? Abingdon: Routledge Finch, G. (2003). How to study linguistics (pp. 21-44). New York: Palgrave Macmillan.

Finegan, E (2008). Language: Its structure and use (pp. 287-291). Boston: Thomson Wadsworth.

Grice, P. (1989). Studies in the way of words. Cambridge, MA: Harvard University Press.

Tserdanelis, G., & Wong, W.Y.P. (Eds). (2004). Language files (9th edition) (pp. 320-325).

Colombus, Ohio, Ohio State University Press White, K. (2016, August 7). Taika Waititi & Jermaine Clement [Video] Kapa Tea. Maori Television. YouTube. https://www.youtube.com/watch?v=8v74UPh7uNk

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