7 language in use

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c. greene-szmadzinski

Linguistics of American Sign LanguageSign 260

InstructorChristopher Greene [email protected]

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Language in Use

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c. greene-szmadzinskiOutline

• Things we’ll be covering today– Prosody– Narrative use of ASL– Sociolinguistics

• Perceptions of ASL• Variation• Pragmatics• Language Contact

– “Puns”, jokes, and sign play– ASL poems and storytelling traditions

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Prosody

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c. greene-szmadzinskiProsody• “The patterns of stress and intonation in a language”

(wordnet)• “Characteristics of natural speech” (encarta)• “The rhythmic and intonational aspect of language”

(m-w)• “attributes of a speaker’s style” (wiki)

• Ie, commas, periods, emotional inflection in the voice• (This alters the message—the study of this is

sometimes called discourse analysis)

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c. greene-szmadzinskiASL Equivalents

• Prosody is everything around a sign– Eye gaze– Grammatical NMS– Emotive/affective NMS– Emotive/affective signs– Flow

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c. greene-szmadzinskiEmotive signs

• IE, signs that have affective meaning but no denotational meaning.

– What the hell?– Yes!

etc

• When signing our goal is to convey our feelings, not describe them as an outsider. IE, make someone feel/taste/touch the rain, not tell them that it is raining.

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c. greene-szmadzinskiReality Rules: Classifier Prosody (Burkhart)

• Four reality principles:1. General to specific2. Spatial relationships reflect

reality3. Concrete before abstract4. Chronological order reflects real

time

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c. greene-szmadzinskiReality Rules (Burkhart)

• Spatial relationships• We must use relationships as they exist in the

real world– “The bird was on the telephone wire.”– “The ball is in the box.”– “I threw the chicken wing at my brother.”– “I gave the letter to my sister (who was sitting on

my left).”

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• Concrete before Abstract• You must have objects in place in your space

before any actions can occur. A woman cannot walk until she exists, a chair can’t be sat upon until it exists in your space.– “I knocked the marbles off the table and they

scattered on the floor.”– “The bears live in a cottage in the forest.”

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• Chronological order– In ASL, because we recreate scenes in space, we

must do so in the order the events actually take place.

– “Brian was fine after surgery.”– “I got scared when the dog barked at me.”– “The old man threw water in the faces of the boys

who were standing on a box to peer in his window.”

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c. greene-szmadzinskiHow about this?

• “One by one, people appeared on the horizon with their suitcases, until thousands of them were rushing down the sandy hill toward the safety of the small village.”

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c. greene-szmadzinskiHow about this?

• “Across the arid grasslands, as far as the eye can see, hugging the shadows of a few trees, lay a pride of lions in various stages of sleep and rest.”

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Perceptions of ASL

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c. greene-szmadzinskiLucas and Valli (1992)

• Who is “fluent” in ASL? Perceptions of identity informs our decisions.

This person comes from a Deaf family

This person comes from a hearing family

and learned ASL later in life

“fluent” “not fluent”

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c. greene-szmadzinskiNicodemus and Emory (2015)

•“Are you better at working into your L1 or your L2?”

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• Accuracy, Speed, Flow, Prosody• Example of “flow”

– “My sister Alice and I decided to set up a home carnival.”

– “Uh, my sister…Alice… and I decided, um … to create a … oh, yeah, a carnival, a carnival at home.”

– “ME CHOOSE AAA INSURANCE/ WHY/GREAT PRICES, EXCELLENT SERVICE//” b.

– “ME CHOOSE AAA…INTER… (shakeshead ) INSURANCE BECAUSE … (pause) GREAT PRICES AND…SERVICE, GREAT SERVICE.”

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c. greene-szmadzinskiNicodemus and Emory (2015)

NOVICE interpreters preferred working into L2, EXPERT interpreters preferred working into their L1.

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Linguistic Variation

How we use language depends on where we are from, who were are, and what situation we are in.

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c. greene-szmadzinskiLinguistic Variation

• In all human languages, there are variables that influence language variation, they include:

1. Region2. Racial/Ethnic3. Sex/Gender4. Age (historical change)

…and thousands more…

• (These are called social constraints or social variables)

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c. greene-szmadzinskiRegional Variation

• One strong constraint for ASL is residential school. Schools for the deaf tend to be regional schools, so the signs used at these schools often become generally accepted in a particular area.

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c. greene-szmadzinskiRegional Variation

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c. greene-szmadzinskiRace/Ethnicity Variation

1817 1860s 1968

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c. greene-szmadzinskiRace/Ethnicity Variation (Valli, Lucas)

• Black signers often use signs which are different from White signers. The history of segregated schools for Deaf children makes it easy to see how ASL variation based on race could develop.

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c. greene-szmadzinskiRace/Ethnicity Variation (McCaskill)

• Black signers often use signs which are different from White signers. – More citation form– Less mouthing English– More reiteration (“expansion”)

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c. greene-szmadzinskiSex and Gender

• There is little research on gender variation in ASL. Males tend to use more newer, changed form of signs that do females.

• (Oddly, females lead sound changes in most other languages)

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c. greene-szmadzinskiAge and Historical Change

• All living languages change across time. One can see clear differences in the language of younger people (using newer forms) and older people (using older forms they grew up with).

• We can see evidence of change since ASL’s “birth” in 1817.

1913 present

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Discourse

Beyond the sentence

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c. greene-szmadzinskiPragmatics

• Pragmatics is the study of language as it relates to context. (Language in context is called discourse)

– Person A: Is James dating anyone?– Person B: Well, he’s been driving to Grand Rapids

every weekend…

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c. greene-szmadzinskiPragmatics

• Language serves many functions:– Maintaining relationships– Controlling– Informing– Creating reality

• Furthermore, how we use language varies from context to context.– Talking in church– Talking to baby– Talking to friend

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c. greene-szmadzinskiSpeech Acts (Austin)

• A speech act is the act of using speech to accomplish some sort of intention (e.g. asking for a glass of water, apologizing, etc)

• Different from physical acts (e.g. drinking water) and mental acts (e.g. thinking about drinking water)

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c. greene-szmadzinskiSpeech Acts (Austin)

• Explains an utterance as having three parts/aspects:

1. Locutionary act: the speech act taken place2. Illocutionary act: the intention of the act3. Perlocutionary act: the social effect of the

act

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c. greene-szmadzinskiPossible Illocutions (Crystal)

• Representatives: asserts a proposition to be true (e.g . I believe…)

• Directives: makes the hearer do something (e.g. Will you…)

• Commisives: commits speaker to a (future) course of action (e.g. I promise…)

• Expressives: give speaker’s attitude or feeling about a state of affair (e.g. I appreciate…)

• Declarations: alters the external status or condition of an object solely by making the utterance (e.g. I now pronounce you….)

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c. greene-szmadzinskiCooperation Principle (Grice)

• So how do we know what people mean when they don’t say what they mean?

– “Do you have five bucks?”– “Can I go to an interpreted play for two hours?”– “Did you drive here?”– “Can I borrow a piece of paper?”– “Do I have to take the test?”– “How well did you know him?”

• We assume people are cooperating to achieve the same goals.

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c. greene-szmadzinskiFour cooperation maxims (Grice)

• Quality: be honest

• Quantity: not too little, not too much

• Relation: everything relates to the topic

• Manner: be orderly, clear, avoid ambiguity

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c. greene-szmadzinskiFour cooperation maxims (Grice)

• Different groups of people have different rules about what each principle means.

• Women typically empathize, men typically problem solve (Goodwin, Lakoff, Tannen)

• Hearing people typically share little, deaf people typically share a lot (Mindess)

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c. greene-szmadzinskiTannen (1996)• Dara: listen, listen, listen, listen• Max: say it in slow motion, okay?• Steph: betty bought a bit of butter and she said this

butter’s bitter. If I put it in my batter it will make my batter bitter. So betty bought a bit of better butter to/

• Dara: /you never heard that before?• Max: no. never• Dara: max, seriously?• Max: seriously• Dara: it’s like the famous to/ngue twister• Steph: /tongue twister• Max: no. the famous tongue twister is

peterpiperpicked/• Dara: /same thing. It’s like that. It’s like that one.• Max: you keep interrupting me

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c. greene-szmadzinskiFlouting

• Flouting is deliberately breaking one of these cooperative maxims.

– “Do I look fat in this dress?”

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c. greene-szmadzinskiRegister Variation

• When the structure of discourse varies based on setting or context, this is called a register change

– “Who’s a pwetty girl?”– “You look sexy as hell!”– “You look nice tonight.”

• (this is NOT NOT NOT the same as what you refer to in the ITP as “register words”)

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c. greene-szmadzinskiRegister variation

• Citation form (cf) refers to the most common, most strong, most typical, isolated form, or most prestigious form (ie, usually what you’d learn in school)

– I ain’t going to church on Sunday.– I am not going to church on Sunday.

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c. greene-szmadzinskiRegister Variation (Valli, Lucas 1991)

• “Hearing register”• Research indicates when Deaf people sign

with hearing people they use more Signed English and more contact signing. They also fingerspell more and use more fingerspelling/sign combinations.

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c. greene-szmadzinskiRegister variation

• While signing in a child’s register:

– Less fingerspelling– More home signs– More two handed signs (esp. animal signs)

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• There’s also a marked difference between formal and informal settings

– Two handed vs One handed– Location of sign

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• In intimate register, there are some signs/words/phrases that are used that are not used anywhere else.

– Less information is communicated– Two handed signs may appear in one handed

variants– Examples of signs that have experienced deletion

of all but NMS

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Bilingualism and Language Contact

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c. greene-szmadzinskiBilingualism and Language Contact

• Half of the people in the world know more than one language. (Mackey)

• Languages typically interact because of– Colonization (and later nationalism)– People relocating– Education and culture– Urbanization

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• For Deaf people:1.It is impossible to not have contact with

English speakers because of their minority status in the US.

2.Most of the research in this area has studied English/ASL contact, but not ASL/other SL contact which is more and more common

• ASL and English coexist together—this is an example of maintained bilingualism

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• Languages interact in many ways. When they share a medium, the following may happen:– Lexical borrowing– Code switching– Foreigner talk– Interference– Pidgins and Creoles

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• When sign languages and spoken languages interact, these things may occur– Fingerspelling– Fingerspelling/sign combination– Mouthing– Code-switching– Coda talk– Contact signing (or code blending—previously

incorrectly labeled as pidgin sign english)

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Language as Art

Artistic forms in ASL

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c. greene-szmadzinskiLanguage as Skilled Work

• Some people are better at storytelling than others—some people are better at telling jokes, etc.

• Deaf people often travel distances to see “storytellers”, there are Vlogs dedicated to stories in ASL, people play ABC or number games at parties…

• This is part of folklore, there are some staples of Deaf culture

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c. greene-szmadzinskiLanguage as Art

• ASL is not only used for everyday communication. Artistic forms of ASL have played an important role in the transmission of culture and history from generation to generation of Deaf people.

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c. greene-szmadzinskiLanguage as Art

1. Poetry/Storytelling1.A-to-Z stories2.Numerical Stories3.Fingerspelled/Word stories4.Classifier stories5.Deaf Humor/sign puns

2. Percussion signing3. Deaf specific drama

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c. greene-szmadzinskiStorytelling

• ASL stories can be fables, personal experiences, anecdotes or legends

• Poetry typically rhymes using ASL phonology, not English phonology.

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xyzabcdefghijklmnvw

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c. greene-szmadzinskiA-to-Z stories

• Also called ABC stories.• They have been passed down through the

generations dating back to the nineteenth century.

• In an A-to-Z story each sign represents one of the 26 handshapes in the manual alphabet from A to Z.

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xyzabcdefghijklmnvw

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c. greene-szmadzinskiA-to-Z stories“The Haunted House”

A man knocks on the door and slowly the door opens. Warily, he enters the house, his eyes searching the room. Suddenly, he hears something fearful. It’s a scream—eek! His eyes glance to see something running off. The man begins to imagine some very fearful things and decides he better hurry along. He then notices the artwork on the wall. It’s a picture of a man smoking a cigar. He hears a sound: m-m-m-m-m. moving closer to the painting, he sees a hole in it. Peeking through the hole, he sees a dead person hanging from the ceiling by a rope. It is the queen. She has hung herself. Suddenly, glancing to the right, the man notices a person standing there. The man is startled as the person is beginning to put a curse on him. With his legs trembling, he holds up a cross to stop the curse and escape by hastily running off.

(obviously it loses something in the translation)

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c. greene-szmadzinskiNumerical Stories

• Similar to A-to-Z stories.• Each sign includes a handshape that

represents a number from 1 to 15 or higher.

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xyzabcdefghijklmnvw

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c. greene-szmadzinskiFingerspelled Word Stories

• Similar to A-to-Z story but the letters are linked to an English word or words.

• Ie, GOLF

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c. greene-szmadzinskiClassifier Stories

• The classifier story is a very creative art form. The story is told with classifier predicates. Many funny visual images are created in the story.

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xyzabcdefghijklmnvw

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c. greene-szmadzinskiDeaf Humor/Sign Puns

• Deaf humor developed in the Deaf community partly as a way of coping with the oppression Deaf people face in the hearing world. ASL comedy amuses Deaf audiences.

• Ie, the story of eyeth, or the joke about the interpreter who told the mob about hidden money

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c. greene-szmadzinskiPercussion Signing

• Percussion signing consists of using only instruments, such as a bass drum, to beat rhythmic vibrations that Deaf people can feel while a performer signs with the beats. The beats are linked to the movements of the signs.

• Ie, MSD Cheerleaders, Gallaudet spectators

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c. greene-szmadzinskiDeaf specific drama

• Dramatic performances have flourishes in the 20th century in Deaf clubs, Deaf colleges, Deaf theater groups, Deaf TV/film production groups, and Deaf celebration groups.

Drama in ASL is characterized by:1. Large and rhythmic sign movements2. Clear visual facial information

1. Facial grammar2. Emotions

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c. greene-szmadzinskiHistory of ASL Poetry

• ASL poetry emerged in the 1970s and is a fast developing art form. It is believed that from the 1840s to the 1960s, there were ASL poets, but they went unrecognized because of the oppression of ASL and the inability to document signs and sign performances.

• In the 1970s, videotape equipment became widely used, and, as a result, it became possible to record and to preserve ASL and ASL poetry.

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Wit and Plays on Signs

The Signs of Language (Klima and Bellugi)

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c. greene-szmadzinskiWit and Plays on Signs

• Are puns or plays on words possible in ASL?• In spontaneous ASL communication, plays on

signs abound. They occur daily and readily evoke laughter.

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c. greene-szmadzinskiWit and Plays on Signs

• True ASL wit and plays on signs do not rely on the English languageIe, “I’m feeling hoarse”, “pasturized milk” rely on both ASL and English and so are examples of language mixing…

…but “A boy is becomes a man at the age of 13/ejaculation” is an ASL pun because it relies only on the morphology of ASL and 13 and EJACULATE being ASL homonyms.