This thesis is a contribution to descriptive work on emotion expression in sign languages. The main purpose is providing a detailed description of anger expression in Ghanaian Sign Language (GSL),...Show moreThis thesis is a contribution to descriptive work on emotion expression in sign languages. The main purpose is providing a detailed description of anger expression in Ghanaian Sign Language (GSL), as well as placing this description within the framework of anger expression in the languages of the world. Anger is considered a basic emotion, resulting in a discussion about the universality of anger expression. This thesis aims to include sign languages in this discussion, by analysing anger expression in GSL in the context of proposed universals. Multiple data collection methods were applied, among which the usage of movie- and picture stimuli, scenarios containing different types of anger, and storytelling. Six signers of GSL were provided with these stimuli and asked to either narrate the movie, identify emotions, create a story containing expression of anger or act out scenarios. Results showed that GSL has a division, phonologically as well as semantically, between signs at the head and signs at the chest area. Furthermore, anger expression is largely iconic and metaphorical. GSL confirms existing theories about universals, such as the embodiment of anger expression and the universality of anger metaphors. However, GSL does distinguish itself from earlier research on anger expression in its usage of intensifiers. Furthermore, although GSL is based in American Sign Language (ASL), many of the signs belonging to the anger lexicon are unique to GSL. Nonetheless, the two signs most frequently used to express anger are the same in both languages.Show less
This thesis describes ideophones in the Bantu language Kikamba (E55). The concept of ideophones and iconicity in (African) linguistics is introduced and a typological overview of Kamba is given. A...Show moreThis thesis describes ideophones in the Bantu language Kikamba (E55). The concept of ideophones and iconicity in (African) linguistics is introduced and a typological overview of Kamba is given. A description of the Kamba ideophone is provided, as well as semantic descriptions and example sentences. Moreover, findings on phonology, syntax, and the implicational hierarchy (Dingemanse 2012) are presented.Show less
Cross-linguistic studies have shown that despite variations across languages, universal patterns are found within semantic domains. In sign language linguistics, cross-linguistic studies of the...Show moreCross-linguistic studies have shown that despite variations across languages, universal patterns are found within semantic domains. In sign language linguistics, cross-linguistic studies of the iconic patterns per semantic domain have received major attention in recent years. This study investigates iconicity in the semantic domain of animals in Berbey Sign Language – an emerging family sign language in Mali – and compares it to 10 other sign languages. The results of the analysis of the iconic strategies and iconic image in 10 animal signs reveal notable patterns. An overview of the universal tendencies found in the semantic domain of animals is included in the study as well.Show less
Within sign language poetry there is a genre that has not been the subject of scientific research yet, even though it has been around for quite some time: visual vernacular. It differentiates...Show moreWithin sign language poetry there is a genre that has not been the subject of scientific research yet, even though it has been around for quite some time: visual vernacular. It differentiates itself from other types of sign language literature in that it hardly ever uses anything but iconic signs, and this is what makes it internationally comprehensible across sign language borders. It is even understandable to audiences who do not have any knowledge of a sign language. Besides iconic signs, it uses many cinematographic techniques such as role switching from and to different subject or objects within the story. Visual vernacular is different from another type of sign language literature called classifier stories mainly in that the latter uses sign language specific lexicon which visual verancular does not. Another similar form of art, this time outside the sign language realm, is pantomime, but this is different from visual vernacular in many ways, one of the most prominent of which is that pantomime performers are only the storyteller whereas visual vernacular performers swith between the storyteller, main protagonist and any other subject or object in the story. By making a literary overview and using a dataset of different types of visual vernacular stories, this thesis provides an inter and intra sign language poetry genre comparison.Show less
Iconicity in reduplication is often considered to be a relation between form and referent, but this idea is more often than not inappropriate or too complicated. A thorough discussion about the...Show moreIconicity in reduplication is often considered to be a relation between form and referent, but this idea is more often than not inappropriate or too complicated. A thorough discussion about the nature of the sign, reduplication and its iconic nature, followed by a case study of Samoan shows that the iconicity should be seen as a relation between form and content.Show less
