By R. Sutton-Spence
This new examine is an immense contribution to signal language learn and to literature usually, taking a look at the advanced grammatical, phonological and morphological structures of signal language linguistic constitution and their position in signal language poetry and function. Chapters take care of repetition and rhyme, symmetry and stability, neologisms, ambiguity, issues, 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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Additional info for Analysing Sign Language Poetry
These lyric poems suit sign language and Deaf culture, so there is no reason to reject the genre, and they are blended with folklore traditions from sign languages, with features such as personation, anthropomorphisation, and the ABC, onehandshape and number games of the sign language traditions (see Chapters 3 and 9 for more detailed discussion of these). Knowing English and English poetry and being a fluent ASL user with experience of using sign language as an aesthetic art form from her time as an actress at NTD, Dorothy was thus in a unique position to develop a clear understanding of sign poetry principles.
240), and there is no hidden meaning. It is simply a pleasurable romp in sign language and it makes us smile. Sign language poetry also shows hearing people the beauty and complexity of sign language and teaches them to respect Deaf culture, proving to them that sign language poetry is possible. No one would express surprise that the English, Arabic or Inuit languages have poetry, yet when most hearing people learn that sign poetry exists, their reaction is one of surprise. These people have probably given little thought to sign language or the possibility of sign language poetry but, nevertheless, their immediate thought is that it would not be possible.
BLUE is also articulated high up in the same area as SKY, creating the neologism BLUE-SKY (Fig. 14). Clayton Valli’s Deaf World uses signs located at different heights throughout the poem. All the signs are located in the right-hand side of the signing space but at first they are located at waist-height, then signs are made in a plane slightly higher, then the plane is raised again, until finally the signs are made at head-height. The use of space here is not just for aesthetics but reflects how a Deaf person’s confidence grows (moves up, and becomes more ‘positive’) as he or she physically grows.