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Sign languages are natural languages developed and used in all parts of the world where there are deaf people. Although different from each other, these languages, that have been exposed to varying degrees of communitisation and institutionalisation, share a significant
number of common structures. As in the study of any other language, the linguis...
Citations
... Transcription practices have already been implemented in the neighboring disciplines, namely the study of co-speech gestures and sign languages. The creation of annotation and transcription tools for gestures has been a focus of research interest since the 1950s, and it became a growing area over the last two decades (Birdwhistell 1952;Stokoe 1960;Slobin et al. 2001;Boutet and Garcia 2006;Kipp et al. 2007;Kato 2008; de Courville et al. 2010;Garcia and Sallandre 2013;Pak-Hin Kong et al. 2015;Bianchini et al. 2018;Boutet et al. 2018;Power et al. 2022). The need to transcribe gestures and signs in order to improve or even make possible their study has been regularly underlined by researchers. ...
... The creation of an effective annotation system for visual dynamic languages and communicative systems is extremely challenging (Garcia and Sallandre 2013). The overlapping of multiples parameters in these languages tend to resist graphic representations. ...
The main goal of this article is to introduce a new method for the analysis of depicted gestures in painting, namely a transcription system called chiroscript. Based on the model of transcription and annotation systems used in linguistics of co-speech gestures and sign languages, it is intended to provide a more systematic and objective study of pictorial gestures, revealing their modes of combination inside chirographic accords. The place of chirograms (depicted hand gestures) within pictorial semiotics will be briefly discussed in order to better explain why a transcription system is very much needed and how it could expand art historical perspectives. Pictorial gestures form an understudied language-like system which has the potential to increase the intelligibility of paintings. We argue that even though transcription is not a common practice in art history, it may contribute and even transform semiotic analyses of figurative paintings.
... We could mention Mimographie, Stokoe Notation, HamNoSys, D'Sign, and last but not least SignWriting, the one which to date is the most widespread system in research (cf. AntinoroPizzuto et al., 2008;Garcia and Sallandre, 2013). ...
In the translation into sign language, where does the ≪sense≫ reside and how can it be constructed in the target language? To what extent does the orality of sign languages, intended as the absence of a writing system, affect the translation process? What role do the characteristics of sign languages, first and foremost iconicity, play? The issues we address in this study are placed at the crossroads between sign language linguistics and translation studies, thanks to the awareness that both disciplines have, respectively matured in recent decades. As regards the linguistics of sign languages, we refer to the semiological model proposed by Cuxac and colleagues. On the subject of translation studies, our main reference is represented by Meschonnic, according to whom the sense is found in the ≪rhythm≫ (understood as form). Analyzing the translation process, and more specifically the poetic translation, allows us to observe the centrality of the body. We take into account the perspective of embodied cognition , based on the link between the language and the sensorimotor system. Therefore, we question the role of the body in the construction of the sense: the body is considered above all in its sensorial dimension, in its being an entity that perceives and enters into a relationship with the world. That makes us hypothesize a synesthetic construction of the sense . In order to follow in practice what is stated theorically, we present one of our translations: the translation into LIS of a poem in Italian, L'Infinito by Giacomo Leopardi. The translation into sign language makes it possible to observe the role of corporeality in the process of re-enunciation of sense.
Nonverbal communication behavior is central to the communicative performance of listening. Yet listening scholarship has primarily been grounded in exploring the verbal behaviors associated with listening to the neglect of the systematic exploration of nonverbal listening behaviors in these same communicative moments. This is likely in part due to the lack of a standardized methodical approach to transcribing nonverbal discourse. In this study, we take initial steps to remedy this methodological lacunae. We first compare approaches to verbal transcription and nonverbal coding that might be adopted by communication scholars interested in nonverbal discourse in general. We then offer an initial transcription framework that incorporates previous approaches and innovates new ones that can be used to transcribe listening nonverbal discourse in particular. We conclude with a brief example of how this could be used to further our understanding of diverse listening practices and opportunities for future research. Our ultimate aim is to propose a culturally inclusive way to transcribe nonverbal listening discourse with which discourse analysts and listening scholars can intentionally and effectively include nonverbal listening behaviors as central to their communication research.
