Tagmemics is a linguistic theory that that treats language as a part of the greater whole of human behavior.Tagmemicists view language as an integral part of human behavior, an element that cannot be separated from its cultural context. This aspect of language study, informed by anthropological principles, can provide some exciting possibilities in an interdisciplinary classroom setting, one that treats academic subjects not as separate compartments but as interwoven approaches to understanding various aspects of humanity. Less ethereally, tagmemic concepts can serve as useful inquiry and discovery devices for comprehending literature.

An instructor must present English composition as a useful skill that is both important and relevant to a student's life. Tagmemics is well-suited to this task. Tagmemics is like a two way mirror--it provides a method for understanding not only the object of inquiry, but also the observer. Composition teachers strive to engage a student into thinking about their subject as more than a detested "required class." The theories and practice of tagmemics, if not ideal, at least provide possible means to this end.

Although the use of the word 'tagmeme' dates back to the 1930s, the idea was more fully developed by Kenneth L. Pike in the late fifties and sixties. Pike, a linguist studying at the University of Michigan, was dissatisfied with his attempts to understand and describe languages in oral cultures that did not have grammatical codes or prescribed alphabets. He theorized that the best way to understand a language was to understand the culture that created that language. Consequently, Pike launched an inquiry into the social foundations of the phonology, morphology and syntactics of the cultures he was studying.

A tagmeme is a grammatical unit consisting of at least two simultaneously occurring features-the slot and the class. (Jones, 81) The slot represents the grammatical relation of the unit to other units within the construction. A slot could be the subject or predicate, or a modifying phrase. The class indicates the unit type, such as noun, verb, adjective, etc. Slot and class represent different types of information, for example in the phrase dog collar, the word dog is both a modifier in terms of its functional slot and a noun in terms of its formal class.

In a broader sense, the tagmeme is any unit or chunk of language or language behavior that can be identified, classified, differentiated, and employed, in itself, in a system, or as a system within a particular mode of discourse or cultural context. (Edwards, p. 715) A tagmeme could be a small unit, with distinct boundaries, such as a sound, a word, a sentence, or a paragraph. It could also be something larger, such as a writer, a tradition or a reader-in other words, any recognizable unit or feature of a unit that has distinguishable functions and effects in a particular language situation.

Central to Pike's definition of tagmemics is the relevant structured arrangement of behavioral units relative to an insider's view of a behavioral system. (Pike, 1982, p.11). In other words, Pike is concerned with the way units relate to each other, how they build on each other and how they might affect each other in terms of meaning. The perspective through which this arrangement is seen is that of an insider, someone within the system. Pike's concentration on the insider vs. outsider perspective will be addressed later in this paper.

There are essentially four postulates to tagmemic theory. (Jones, pp 79-80) Since tagmemics considers language to be integrated into culture, inseparable from the rest of human behavior surrounding it, these axioms are held to be true for all human behavior, including, but not limited to, language. It is this wide-reaching quality of tagmemics that makes it so rhetorically attractive. Because tagmemics positions itself as a universal theory, it allows a class to engage in a rich and multi-leveled dialogue that resists locking English composition in an Ivory tower.

The first postulate is that all purposive behavior, including language, comes in "chunks" or units. The unit can be determined by the features which contrast it with other units and by its relationship to other units within a class or system. While these units occur naturally, it is the implicit responsibility of the observer to discern the boundaries of a particular chunk.

The second axiom says that units do not occur in isolation but in context. If there is variation among units, the conditioning factors may be found in the context. In grammar, a sentence must be analyzed in its contextual framework, and not as a separate entity. This stands in opposition to Chomsky's tree-diagram analysis of sentences, which breaks down sentences into minute morphological and grammatical features, but does not address their relationship to the surrounding context. Tagmemicists insist that whereas the unit can be identified on an individual basis, according to the first postulate, it is not fully understood without relating to the other units around it.

Third, a part-whole hierarchy exists in language. Small units occur as parts of larger units, which may be parts of still larger units. In language, the hierarchy is composed of the phonological, the grammatical, and the referential hierarchies. The phonological hierarchy includes the phoneme (sound) and syllable at its lowest level, then stress groups, rhythm groups and progressively up the scale. In regard to grammar, the hierarchy starts at the lowest level of morpheme (functional component to a unit, encompassing the root as well as affixes), followed by morpheme cluster, and up the hierarchy through word, phrase, clause, sentence, paragraph, monologue discourse, dialogue exchange, and dialogue conversation. Referential hierarchy deals with content structure, truth and falsity, paraphrases-essentially addressing how the unit relates to the grand scale of human behavior.

The fourth postulate recognizes the role of varying observer perspective. A static view sees items as individual discrete things in focus. A dynamic view focuses on the dynamics of items overlapping, blending, and merging with each other. Finally, a relational perspective focuses on the relationships between units, networks or fields. These three perspectives exist in concert with each other, not as exclusive approaches. Each complements and adds to the description of a phenomenon without replacing the other's findings.

This fourth postulate is demonstrated in Pike's theory of language as a combination of particle, wave, and field perspectives. (Pike, 1959, pp 37-54) The task of a tagmemicist is to find an entry point for understanding language. Pike considers each of the three perspectives, interwoven into a comprehensive approach, as possible vehicles to this end.

A particle view sees static, permanent bricks in a structure. Particles are the most basic units of language, such as phonemes and morphemes. In a particle view, each unit exists independently-the observer is unable to see how these units interact. Consequently, a view of language that is based too much on the particle perspective can lead to an oversimplification of language and an inability to comprehend the "big picture."

The wave view encompasses a dynamic process. A wave view may link particles in a temporal or referential sequence. It follows the path of a language element in a particular discourse setting. An increasingly wave perspective will see development of language trends, change over time, and fusion of elements.

The field view is a functional perspective. In a field perspective, the unit does not exist apart from the whole. The field view provides a background on which a wave and a particle perspective can be set. Pike thought this approach to be especially unique and equally critical to understanding language behavior. As he states, "The field view is a necessary antidote to an oversegmentation which treats as the only object of study the particular levels and pieces in a particular sequential relation or event." (Pike, 1959, p. 42) This piece completes the puzzle in that it allows for an understanding of how individual units fit together, discerning their unique characteristics in that manner as opposed to overfocusing on the unit itself.

Pike and other tagmemicists often demonstrate these perspectives using the metaphor of a sporting event, for example, a football game. A novice viewer of a football game may have only a particle view as a means to understand what is happening on the field. He will zero in on disconnected units of action: a great catch, a vicious hit, a spectacular touchdown run. These events will only hold significance to him as snapshots. He won't be able to place them into any kind of sequence, apart from the temporal one that is provided by the game clock.

A fan with an overly wave perspective will follow the course of one event as it progresses from beginning to end. For example, this fan may see the quarterback call the play in the huddle, position himself under center, call out the snap count, drop back to pass, survey the field, release the ball, get hit by the defensive end, pick himself up off the ground grimacing and cursing, remove grass from his facemask, and look over to the sideline for the next play. He does not notice the play downfield, the blocking of the offensive line, or the blown block by the running back. As a result, an overly wave perspective, while providing more insight than the particle view, falls short of a complete understanding of the game.

Finally, the fan with a field perspective brings additional knowledge to the game that helps him place the events of the contest in a larger context. He will know the quarterback is a rookie coming off a shellacking from his last outing. The defensive end is playing what may be his final game of a legendary career. The offensive team is fighting for a playoff spot while the team on defense is only playing for pride, trying to salvage a disastrous season.

The best understanding of the game is reached when all these views are combined, just as the deepest understanding of a language is achieved when each of the perspectives are linked together. A particle view provides a deep knowledge of the elements. This is supplemented by a wave view, which places these elements in a dynamic series. The particles and waves are superimposed on a field view to give a frame of reference. This combination will provide the most accurate and complete picture of a language structure.

The are many exciting possibilities of implementing tagmemic theory in the classroom. Tagmemics can be a useful tool for the student to "crack the code" of literature. A teacher can introduce elements of tagmemic analysis as ways for a student to approach a work and try to understand something about it. Additionally, because tagmemics draws on traditions of other modes of studying human behavior, it can be a bridge to link the study of English with the study of anthropology, psychology and sociology.
The most intriguing application of tagmemics to a composition course is the implementation of it as an entry point for understanding a text. One of the most challenging things for an inexperienced writer to accomplish is simply the beginning. Faced with a writing assignment, an overwhelmed student must first decide where to start. Tagmemics, since it is a probing device, can give students a way of negotiating that uncertainty.

Tagmemic theory reflects the type of literary inquiry that composition teachers require of their students. A student first approaches a chunk and attempts to define that chunk. This chunk could be a poem, a line within that poem, a body of work by a poet, or the genre of poetry. What are the chunk's distinctive features, a student may ask, what are its boundaries? A student will first determine how to describe the chunk, how to put words around it.

A simple description of the chunk is not sufficient, however, and so the next critical step is for the student to relate the chunk to a system in which it exists. A student must then determine the relationship of the chunk to its environment. He may ask if the unit would change in any way if the surroundings were different.

Because this type of inquiry into language is user-dependent, the baggage an observer brings with him also figures prominently in the tagmemic analysis. Tagmemics recognizes that two viewers will see a linguistic unit or a behavioral event differently, according to their individual backgrounds. They are not just casual observers of phenomena but are folded into the action; by experiencing the unit they have engaged in the event. This, too, is important to composition teachers, since it allows for alternative reads on the same unit. As a result, a lively debate and vibrant intellectual exchange is fostered.

The conception of tagememics as an entry tool can be applied to several different situations. For example, consider the typical analysis paper in composition: Read the following passage and analyze it. The passage could be a piece of literature, an argument, some type of expository writing. Naturally, the teacher expects the student to identify the topic of the paragraph and the speaker's unique perspective on that topic. Since the teacher asked for the student to analyze the passage, he would also expect the student to discuss such elements as arrangement, evidentiary components of the argument, tone, etc. Applying the tagmemic concept of particle, wave, and field views can give the student a clear perspective on those important pieces to the analysis.

A student may first try to discern the particles that are present in the passage. In other words, the student would first focus on individual points. These could be sentences, phrases, and choices of word that betray a writer's unique perspective. Tone, for example, can be discovered through this application. A student can see how minute details, such as a choice of one synonym over another, when integrated into the whole of the passage, can affect the entire argument.

A wave view could attune a student to qualities such as arrangement. One could begin with a thesis statement or paragraph topic sentence and follow that statement through the passage seeking for elements that would relate directly back to it. As a result, a student can identify when an argument is well supported and well developed, and when it is lacking. If the wave terminates abruptly, the student should ask why, probing further into the foundation of the argument and potentially discovering one of the classic fallacies.

Finally, a field view can place the argument in a larger context. After identifying the writer's stance on the issue, a student can begin to inquire where the opinion fits into the dialogue about the particular issue. The student may ask if the author offers new information or a different perspective on the debate. If not, the student can then determine if the argument still has a functional role, and what the role is. The answer to this last question could be found in the particle and wave analysis. Although the stance on the issue may not be new, the way of presenting that point is unique and may be more effective or more applicable to a specific population.

I find this example interesting because it employs a sort of inverse pyramid. A student may read through the argument and first zero in on a field view, developing a broad connection to the material. He would then follow the waves of each of the arguments to see how they are arranged, and finally focus on microscopic elements. Also interesting is the return to the field view that allows for making a new comment on the argument. This conception eerily echoes the famous five-paragraph essay.

To ground this type of analysis in a concrete example, consider the following rhetorical situation. A Latin American literature class is discussing Federico Garcia Lorca's poetry. The students are asked to select one of his poems and discuss its significance to their lives. A student stumbles upon the poem Incantation and finds it intriguing:

The twitching hand,
like some Medusa,
blinds the aching eye
of the oil lamp.

Ace of Wands. 5
Scissors in a cross.

Upon the white smoke
of the incense, it has
a touch of the mole and
the indecisive butterfly. 10

Ace of Wands.
Scissors in a cross.

An invisible heart
is distressed, see it?
A heart 15
reflected on the wind

Ace of Wands
Scissors in a cross.
-Federico Garcia Lorca, translated by Carlos Bauer.

On first read, this poem seems enigmatic, to say the least. A student may be so concerned with finding the "deep meaning" that he is paralyzed in his attempt to speak about the poem. Applying the tagmemic principle of a particle, wave, and field view, however, he will have a way into the poem.

The student might first re-read the poem, underlining and annotating words or images that strike him. He may note the invocation of Medusa in line two, the concrete visual images of "white smoke of incense" and the "indecisive butterfly." The next step in this particle perspective would be to brainstorm on the images that he found interesting. This step introduces his own experiences into the analysis. He may know, for example, that Medusa was a figure in Greek mythology who was changed from a beautiful nymph to a serpent/woman hybrid after she dared to compare her beauty to that of a goddess. What images or feelings does that reference evoke, and how would it be different if the poet chose a different metaphor?

Next the student will attempt to look at the poem with a wave perspective. The most obvious wave is the repetition of the line "Aces of Wands/Scissors in a cross." The student will ask himself why that line is repeated. He will consider how its meaning may change over the course of the poem, informed by the new images that are introduced. He will focus on the title, "Incantation," and may try to see how the poem is an incantation, and what kind of incantation it is. Incantation is a religious activity, and he will link the images of the incense smoke, the shape of the cross formed by scissors, and the significance of the butterfly as an object that has been transformed.

Finally, a student will introduce a field perspective into his analysis. He may know that Lorca was a Spanish poet. He'll see that Incantation was published in 1931, and that may stimulate him to do some preliminary research into the socio-political climate of 1920s and 1930s Spain. He will consider how those factors may have influenced Lorca's expression. The student will also read a biography of Lorca himself and look for ways that his life's works and concerns as a poet may be expressed in the poem-is it typical to his body of work? He may also read some of the selections in Poem of the Deep Song, the collection from which Incantation was taken, to gain a perspective on how this particular poem fits into Lorca's current artistic endeavors.

The sum total of all of these perspectives will give the student a solid base of knowledge from which to write his paper. What begins as a daunting task becomes much more manageable if the student has a way of breaking it down. Because the student draws on his own knowledge and experience in considering the imagery, he will make a natural, organic link between literature and his life.

In addition to using tagmemic analysis as a discovery tool for composition, a student could implement the concepts as a means of evaluating other student work, as well as his own in revision. If an argument "just doesn't sound right," identifying the particle, wave, and field components to the paper can help a student to determine exactly why the argument is not cogent.

Pike's emic/etic discourse lends itself well to various writing and reading assignments for beginning composition students. A student may notice that some arguments "speak" to him while others seem to miss their mark. This should tune him into the idea of audience. How might an argument be different if it is alternatively developed for an audience who shares a broad base of knowledge with the writer vs. if it is written for an audience who has little in common with the writer? By examining the nature of this shared knowledge, a student can gain valuable insight into the intent and effectiveness of a particular argument. He will have a better understanding of audience and how the same idea will be dressed differently for different groups of people, and why.

The emic/etic concept is another aspect of tagmemics that would serve well as a student-to-student revision/relating tool. A student may feel that his paper is clear and well supported, and it may be difficult for him to see the paper critically, from a great enough distance that he isn't too emotionally tied to his work (in other words, he suffers from possessing only an emic perspective). In workshop, his classmates can apply an etic perspective that would be helpful in identifying its deficiencies as well as its strengths.

In an increasingly diverse and multi-ethnic higher learning community, it is important for teachers to be sensitive to the variety of cultural perspectives their students bring to the table. The study of tagmemics can be a reminder to teachers to consider the cultural backgrounds of their own students. A heightened sense of awareness of this myriad of backgrounds can help a teacher be more effective in reaching his students and meeting their individual needs.

Tagmemics can assist a teacher in starting a student down the road of becoming a better thinker as well as a better writer. Because it encompasses micro and macroscopic perspectives, it encourages students to not only look closely at an argument but to consider the argument as part of a greater discourse. Regardless of whether the student is focusing on anthropology, history, psychology or English, this part-whole approach is a cross-discipline panacea to tunnel-vision.

 

Bibliography

Pike, Kenneth L. "Language as Particle, Wave and Field." Texas Quarterly 2 (1959): 37-54

Jones, Linda K. "A Synopsis of Tagmemics." Syntax and Semantics Vol. 13. Ed. Edith A. Morovcsik. New York: Academic, 1980

Pike, Kenneth L. Linguistic Concepts. Lincoln: University of Nebraska Press, 1982.

Pike, Kenneth L. Language in Relation to a Unified Theory of the Structure of Human Behavior. 2nd rev. ed. The Hague: Mouton, 1967.

Edwards, Bruce L. "Tagmemics." Encyclopedia of Rhetoric and Composition: Communication from ancient times to the information age. Ed. Teresa Enos. New York: Garland Publishing, 1996