Michiko Kaneko

Symmetry in Sign Language Poetry

This paper considers the range of ways that sign languages use geometric symmetry temporally and spatially to create poetic effect. Poets use this symmetry in sign language art to highlight duality and thematic contrast, and to create symbolic representations of beauty, order and harmony.

Iconicity and Metaphor in Sign Language Poetry

This article explores a unique relationship between iconicity and metaphor: that seen in creative sign language, where iconic properties abound at all levels of linguistic representation. We use the idea of “iconic superstructure” to consider the way that metaphoric meaning is generated through the iconic properties of creative sign language. We focus on the interaction between the overall contextual force and individual elements that build up symbolism in sign language poetry. Evidence presented from the anthology of British Sign Language poetry demonstrates that metaphoric meaning is not inherent in signs. What is inherent is iconic value—and purely iconic signs become metaphorical when situated in a certain poetic context.

Eye Gaze in Creative Sign Language

This article discusses the role of eye gaze in creative sign language. Because eye gaze conveys various types of linguistic and poetic information, it is an intrinsic part of sign language linguistics in general and of creative signing in particular. We discuss various functions of eyegaze in poetic signing and propose a classification of gaze behaviors based on the observation of a number of poems in British Sign Language and Swedish Sign Language.

Alliteration in Sign Language Poetry

This chapter explores the notion of alliteration in sign language poetry. It suggests that the fundamental function of alliteration is applicable to sign language poetry, despite it being a soundless art form. Analogies can be made between the repetition of sounds and repetition of sign constituents (called ‘parameters’). They both fulfil aesthetic and metaphorical purposes in artistic language. A simplified definition of alliteration is the repetition of initial consonants (such as ‘Fly o’er waste fens and windy fields’ in ‘Sir Galahad’ by Alfred Tennyson). Among five parameters that constitute a sign (handshape, location, movement, palm orientation and non-manual features), handshape is argued to have the most consonantal quality. With its solid visual appearance at the onset of a sign articulation, handshape can produce the same initial impact as consonants do. As well as providing pure aesthetic pleasure, the repetition of the same (or similar) handshape can be used metaphorically. This I call ‘handshape symbolism’, parallel to the notion of ‘sound symbolism’ in spoken languages. For example, open hand-shapes are more likely to be associated with positive concepts, while closed handshapes, or those with ‘bent’ fingers, tend to create negative impression. Deaf poets make the most of such aesthetic and symbolic functions of handshape. They carefully select signs with certain hand-shapes that can convey their poetic message in the most effective way. The chapter provides a wide range of examples taken from actual poems composed and performed by Deaf poets.