Analysing Sign Language Poetry by R. Sutton-Spence

By R. Sutton-Spence

This new learn is a tremendous contribution to signal language learn and to literature commonly, taking a look at the advanced grammatical, phonological and morphological platforms 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, subject matters, 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 analysed utilizing the instruments supplied within the book.

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Extra resources for Analysing Sign Language Poetry

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In Autumn, the movements start slow and measured, before becoming fast and then coming to a sudden halt with the hold of the final sign, just as the calm of early autumn gives way to wild autumn winds before the first cold snap of ice. In Winter, a poem of contrasts as we have already seen, the movements of the signs are contrasting. They are initially sharp and staccato, with brittle movements in the early signs, especially BARE and BARE-TREE. The slow, tense, jerky movement of BARE-TREE contrasts with the last time that the sign TREE was seen in the quartet – in Spring.

253) is another poem that comes from a strong sense of Deaf Pride. For a community that has been denigrated too often by outsiders, this sort of poetry is truly empowering. Perhaps most importantly, sign language poetry also empowers Deaf people by focusing on the beauty and potential of sign language. It encourages signers to play with their language and to take the language to its limits and see what it can do. Many of Clayton Valli’s ASL poems that we will consider (including Flash and The Bridge), and Wim Emmerik’s SLN poems (including Garden of Eden) are notable for the elegant language they use.

10 32 Analysing Sign Language Poetry The ‘L’, ‘baby C’ and ‘X’ handshapes are all ‘marked’, unusual handshapes and are similar in form. The ‘L’ has the index finger and thumb extended and not bent at the knuckles, the ‘baby C’ also has the index finger and thumb extended but they are bent at the knuckles. The ‘X’ handshape has only the index finger extended, but this is bent at the knuckles. 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.

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