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Sign languages: how are they made?
Before talking about poetry it is good to know a couple of linguistic notions on sign languages. Assuming that there are many languages in sign mode ( American Sign Language , British Sign Language , Italian Sign Language , etc …) and that these in themselves have no linguistic link with the vocal language of the relevant country, each language is formed and is analyzed through four parameters:
- the configuration of the hands (if the hands are open, closed, use of fingers …);
- the place in the space where the sign is made (at chin height, to the left of the trunk …);
- the orientation of the hands (if they are placed with the palm towards the interlocutor, towards the signer …);
- the movement (upwards, to the left …).
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The image illustrates an example of the four parameters used to communicate the word mom . You can observe the simultaneity of the parameters that contribute to the formation of a sign
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Style and meaning in sign language poetry
If you think of a written poem and the elements that make it up, two nouns could easily come to mind: style and meaning. “Style” means the use of strategies – mostly rhetorical sound figures – in order to achieve an aesthetic effect, while “meaning” refers to both the simple reference of the word to the object in reality, and to the more complex system of figures that make parallelisms, metaphors and references possible.
In sign languages, style and, in particular, meaning are rendered with a series of strategies that are more effective immediately. As for the style, for example, we often resort to the repetition of a specific parameter (an operation comparable to alliteration or assonance). As far as meaning is concerned, poetry in sign languages is characterized by a lower presence of metaphors, this is because it is already in itself a highly iconic language, which therefore presents a strong representativeness of the symbolized.
Iconicity in poetry in sign languages
on the other hand, sign language makes less use of metaphors. “name =” Oliver Sacks “subtitle =” Seeing voices: a journey into the world of the deaf, Milan, Adelphi, 1991, p. 175 “] [/ vc_column] [/ vc_row]
All this can take place thanks to the simultaneity of several visual components in the formation and use of a sign language, a process that cannot take place in an oral or written language, since it is always consequential.
What sense can we attribute to poetry
none “width =” 1/1 “tablet_width_inherit =” default “tablet_text_alignment =” default “phone_text_alignment =” default “overlay_strength =” 0.3 “column_border_width =” none “column_border_style =” solid “bg_image_animation =” none “] [nectar_ialial_test_t small_modern “image =” 7058 “add_image_shadow =” true “color =” Accent-Color “quote =” For Vico, the first tale had to be a “poetic language” arising from the human tendency to trace relationships through imagination and fantasy between man and things. Gesture, with its imaginative and metaphorical content, represented the suitable vehicle for the contents and symbols of this original language. “Name =” Tommaso Russo Cardona, Virginia Volterra “subtitle =” Sign languages. History and semiotics, Rome, Carocci, 2018, p. 23 “] [/ vc_column] [/ vc_row]