By R. Sutton-Spence
This new learn is a big contribution to signal language learn and to literature often, the complicated grammatical, phonological and morphological platforms of signal language linguistic constitution and their function in signal language poetry and function. Chapters take care of 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 analysed utilizing the instruments supplied within the book.
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Additional info for Analysing Sign Language Poetry
After her return to England in 1977, Dorothy translated some of her ASL poems into British Sign Language and, as she settled into the British Deaf community, she began to compose BSL poetry without reference to English. Freed from the constraints of needing to accommodate two languages, her BSL poetry rose to new heights and some of her finest sign language poems, such as Trio, are from these later years. Once sign language poetry had received recognition in its own right there was less need to rely so heavily on English.
Poetry is not essential for communication, and basic communication can occur perfectly well without it. Indeed, what we call sign language poetry does not appear to have existed before the late 1960s, so we should ask why it exists now. In some unpublished notes from the early 1990s (undated), Dorothy Miles wrote about sign language poetry: ‘Aim: To What is Sign Language Poetry? ’ It might seem a grand aim, but maybe in its implications that is what sign language poetry can be for. One reason that sign language poetry exists is because there are at least a few people who compose and perform it.
Both these types of movement can contribute to the overall rhythm of the poem, where signs with fast, slow, smooth or sharp movements may be selected to contrast or create patterns of regularity. We will discuss the rhythm of signing below. The movement path in several key signs in Christmas Magic (p. 241) follows a curving ‘J’ shape through space. This allows the signs to have general connotations with the idea of a Christmas stocking which has a ‘J’ shape in reality and whose sign is made with a ‘J’-shaped movement.
Analysing Sign Language Poetry by R. Sutton-Spence