ASL Anointed Biography

Document Type:Proofreading Editing

Subject Area:Literature

Document 1

A Feast for the Eyes: ASL Literacy and ASL Literature. Journal Of Deaf Studies And Deaf Education, (1), 57. Christie and Wilkins in “A Feast for the Eyes: ASL Literacy and ASL Literature” elucidate each linguistic and language has three major intrinsic components of literacy. In their assertions, they illustrate that each of these literature carries cultural, significant, and functional literacy. In this regard, there are indispensable language proficiencies that augment communication, the incidences common among the cluster represented by particular literature, and the significance of literature to enable and equip its speakers or users correspondingly (Christie & Wilkins, 1997). S. Representations of sound in American deaf literature. Journal of Deaf Studies and Deaf Education,12(4), 552-565. Rosen’s fundamental theme highlights the approach the American Deaf Literature uses to produce sounds to enhance narrative description.

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Sound can stand for character or an environment (P. Rose, H. M. Stylistic features in American sign language literature. Text and Performance Quarterly,14(2), 144-157. Rose again adds to the ASL using a different approach that supports the initial articles. Writing deaf:Textualizing deaf literature. Sign Language Studies,7(2), 200-207. In this article, Harmon provided the development of ASL in a critical reproach by changing it to a different script in English writings (P. 200, L. According to Harmon, translation for ASL is complex because of the signs involved, which is not the case for the written form of language (Harmon 2007). The major issue according to Rose is the manner a deaf artist's connection with ASL explains her construction of self; information on Fjeld's autobiographical presentation.

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Sutton-Spence, R. , & Napoli, D. J. Deaf jokes and sign language humor. Dissertation Abstracts International, 53(7), 2163A. Rose scrutinizes the unique literature manifested and developed in American Sign Language (ASL). The conventional element looks at the root of ASL literature and identifies two essential periods. First, the pre-videotape phase that incorporates Deaf folklore and oral customs created in ASL and transferred "verbally" by subsequent recipient generations. Secondly, the focus is on the post-videotape era that constitutes single-authored works developed in ASL and published on videotape. Secondly, the vocabulary of literary lyric, dramatic, and epic modes manifests more explicit as opposed to that of genres for explaining ASL ART because methods do not only rely on the written word (Rose 1993). Lastly, Rose gives explanations into Body Knowledge as displayed in ASL aesthetic performance and the entire human communication.

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Bauman, H. L. Redesigning Literature: The Cinematic Poetics of American Sign Language Poetry. Sign Language Studies, 7(3), 284-318. doi:10. 1353/sls. 0020 The article centers on different ways geometric symmetry works temporarily and spatially to develop poetic influence. Sutton-Spence and Kaneko affirm that poets apply symmetry in sign language art to emphasize thematic contrast, duality, and to formulate symbolic demonstrations of aesthetic, harmony, and order. New York: Oxford University Press. The fundamental focus of cultural consciousness, literature and the arts, and appreciation of ASL and the deaf people are central concepts of this source. According to Holcomb, the literature of the Deaf community manifests in various forms, for instance, signed ASL literature and written English literature. The periodicals, autobiographies, books, and special-interest books with specific themes inform the sign language components.

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Deaf art, renowned as De’VIA (Image Art), is categorized into resistance art and affirmation art. L. Smith, & B. D. Snider. The deaf way : perspectives from the International Conference on Deaf Culture,16-23. "I Am The Book"--Deaf Poets' Views on Signed Poetry. Journal of Deaf Studies & Deaf Education, 19(4), 546-558. doi:10. 1093/deafed/enu020 Sutton-Spence and Quadros (2014) indicate that regardless of the research reviewing and evaluating signed poetry, research on the goals and purpose of the signing poets is dismal. Their article explores the producers of the signed poetry. Sutton-Spence and Quadros (2005) attach value to the function of sign language poetry in developing and showing the Deaf poet’s identity as a “visual person” among the individuals in a broad national community.

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The duo indicates the manner two Deaf poets from different linguistic and cultural setups have same effects shown in their sign language poems because of their folkloric acquaintance and extensive national folklore. Examination of the language and main ideas in the poems indicates that sign language elements, for example, neologism and are prone to manipulation directly to allow the Deaf people to enjoy visual experience. The poetic language is a channel of enabling poets and their viewers to appreciate their place in the Deaf community and their national communities (Sutton-Spence and Quadros, 2005). Sutton-Spence, R. Sutton-Spence, R. ) Spatial metaphor and expressions of identity in sign language poetry.  Metaphorik. de, 19: 1–40.  [Google Scholar] Sutton-Spence forms a stance that sign languages are visual languages (2010). L.

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