Download Analysing Sign Language Poetry by Rachel Sutton-Spence PDF

By Rachel Sutton-Spence

This new research is an immense contribution to signal language learn and to literature usually, the complicated grammatical, phonological and morphological structures of signal language linguistic constitution and their position in signal language poetry and function. Chapters care for repetition and rhyme, symmetry and stability, neologisms, ambiguity, topics, metaphor and allusion, poem and function, and mixing English and signal language poetry. significant poetic performances in either BSL and ASL--with emphasis at the paintings of the deaf poet Dorothy Miles--are analyzed utilizing the instruments supplied within the e-book

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Additional resources for Analysing Sign Language Poetry

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This then links nicely with SWORD, also made with an ‘A’ handshape on the dominant hand (representing holding the sword), and another ‘A’ handshape on the non-dominant hand (representing the scabbard from which the sword is drawn) before the dominant hand signs STAB-DOLLWITH-SWORD, again with an ‘A’ handshape. At first, we might think that the dolls and the swords are merely items on a list and unrelated in the children’s play. However, STAND-UP-DOLL and STAB-DOLL-WITHSWORD are signed at the same location in signing space and their shared handshapes link them further.

This repeated movement path is not as immediately obvious as the fluttering, wriggling internal movement in the handshapes that we considered above in our discussion of repeated handshapes. Nevertheless, it is a little piece of poetic fun, and perhaps all the more fun for its subtlety (Fig. 12). In the celebratory BSL poem about the British Deaf Association, The BDA is … (p. 240) there is a noticeable use of outward movement of the signs. In the final verse and the chorus, 13 of the 29 signs (45 per cent) move forward, echoing the dominant theme of progress (forward ϭ progress ϭ good).

The signs FUNNY, LOTS, CHOCOLATE, CANNONS, FIRECANNONS, TIN and CANDY use these three similar, unusual handshapes, creating an elegant effect of similarity in the signs used in these lines (Fig. 9). The two signs STAND-UP-DOLL and STAB-DOLL-WTH-SWORD are also related by sharing similar handshapes. The sign DOLL is made with ‘B’ hands, but the sign used for the shape and position of the paper doll as the character stands it up uses the ‘Â’ handshape. The sign that occurs when the narrator takes on the role of the character in the poem (in a common sign language device termed ‘role shift’) and folds her arms and looks with satisfaction at the paper doll uses ‘A’ handshapes.

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