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Fig. 43.3: Separate transcriptions for right and left hand (Morgan 2006, 331, Fig. 13-7). Copyright © 2006 by Oxford University Press. Reprinted with permission.

Figure 43 3: Separate transcriptions for right and left hand (Morgan 2006, 331, Fig. 13-7). Copyright © 2006 by Oxford University Press. Reprinted with permission.

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In Sign Font, the order of elements is different from Stokoe notation: Handshape, Action Area, Location, Movement. Action Area is distinctive to this system; it de- scribes which surface or side of the hand is the focus of the action. (In Stokoe notation, the orientation of the hands is shown in subscripts to the handshapes. The relationship between the hands would be shown by a few extra symbols for instances in which the two hands grasp, link, or intersect each other.)
In Sign Font, the order of elements is different from Stokoe notation: Handshape, Action Area, Location, Movement. Action Area is distinctive to this system; it de- scribes which surface or side of the hand is the focus of the action. (In Stokoe notation, the orientation of the hands is shown in subscripts to the handshapes. The relationship between the hands would be shown by a few extra symbols for instances in which the two hands grasp, link, or intersect each other.)
‘Grandfather gives (or gave) the child the ball.’ <= Se US CU Example (6) gives the SignWriting version of the proposition previously transcribed in (4) and (5). In this example, the signs for ‘grandfather’ and ‘child’ are followed by pointing indices noting the spatial locations assigned to the two participants, and again. the sign for ‘ball’ precedes the sign for ‘give’, which again incorporates the ball’s shape and size relative to the participants. Note that the phrasal elements are separated by horizontal strokes of various weights (the example is also available at http://www.sign- bank.org/signpuddle). While SignWriting is usually written in vertical columns, it is presented here in a horizontal arrangement to save printing space.
‘Grandfather gives (or gave) the child the ball.’ <= Se US CU Example (6) gives the SignWriting version of the proposition previously transcribed in (4) and (5). In this example, the signs for ‘grandfather’ and ‘child’ are followed by pointing indices noting the spatial locations assigned to the two participants, and again. the sign for ‘ball’ precedes the sign for ‘give’, which again incorporates the ball’s shape and size relative to the participants. Note that the phrasal elements are separated by horizontal strokes of various weights (the example is also available at http://www.sign- bank.org/signpuddle). While SignWriting is usually written in vertical columns, it is presented here in a horizontal arrangement to save printing space.
Example (7) gives the HamNoSys version of our proposition, ‘grandfather give child ball’, with every line representing one sign. In this example again, the signs for ‘grand- father’ and ‘child’ are followed by pointing indices noting the spatial locations assigned to the two participants, and again, the sign for ‘ball’ precedes the ‘give’ which again incorporates the ball’s shape and size relative to the participants. feeaigane Wiener AERrateers seerinne Magee Mresneanne 2.5. Discussion and comparison
Example (7) gives the HamNoSys version of our proposition, ‘grandfather give child ball’, with every line representing one sign. In this example again, the signs for ‘grand- father’ and ‘child’ are followed by pointing indices noting the spatial locations assigned to the two participants, and again, the sign for ‘ball’ precedes the ‘give’ which again incorporates the ball’s shape and size relative to the participants. feeaigane Wiener AERrateers seerinne Magee Mresneanne 2.5. Discussion and comparison
Fig. 43.1: A combination of linear descriptions and diagrams (Liddell 2003, 106, Fig. 4.8). Copy- right © 2003 by Cambridge University Press. Reprinted with permission. ~The For example, Liddell (2003, 106) combines linear transcriptions with diagrams to listinguish between multiple and exhaustive recipients of a directed sign such as ASK- )UESTION. The superscript on the linear transcription distinguishes the two forms with xplicit words in square brackets along with Liddell’s invented arrow turning back on tself, which “indicates that the hand moves along a path, such that the extent of the yath points toward entities a, b, and c” (Liddell 2003, 365). The transcription lines are iccompanied by overhead diagrams with a schematic arrow indicating two types of and/arm movements, as illustrated in Figure 43.1.
Fig. 43.1: A combination of linear descriptions and diagrams (Liddell 2003, 106, Fig. 4.8). Copy- right © 2003 by Cambridge University Press. Reprinted with permission. ~The For example, Liddell (2003, 106) combines linear transcriptions with diagrams to listinguish between multiple and exhaustive recipients of a directed sign such as ASK- )UESTION. The superscript on the linear transcription distinguishes the two forms with xplicit words in square brackets along with Liddell’s invented arrow turning back on tself, which “indicates that the hand moves along a path, such that the extent of the yath points toward entities a, b, and c” (Liddell 2003, 365). The transcription lines are iccompanied by overhead diagrams with a schematic arrow indicating two types of and/arm movements, as illustrated in Figure 43.1.
Fig. 43.2: Transcribing a description of a storybook picture (Morgan 2005, 125, Fig. 4). Copyright © 2005 by John Benjamins. Reprinted with permission.
Fig. 43.2: Transcribing a description of a storybook picture (Morgan 2005, 125, Fig. 4). Copyright © 2005 by John Benjamins. Reprinted with permission.
example is the direction of a verb of communication or transfer directed to an absent third person as if that person were present. If the person is a child, for example, the gesture and gaze will be directed downward (as in our example of grandfather giving a ball to a child). There is no standard way of notating surrogates; Liddell makes uses of diagrams drawn from mental space theory, in which “mental space elements” are blended with “real space”. Taub (2001, 82) represents surrogates by superimposing an imagined figure as a line drawing onto a space with a photograph of the signer. Both signs in Figure 43.4 mean ‘I give to her’, but in A the surrogate is an adult and in B it is a child. Again, a standardized notation is needed. Paul Dudis (2004; Wulf/Dudis 2005) has described how the signer can partition his or her body to simultaneously present different viewpoints on a scene or different partici- pants in an event. So far, there is no established means of notating this aspect of signing. For example, Dudis (2004, 232) provides a picture of a signer demonstrating that someone was struck in the face. The signer’s face and facial expression indicates the victim, and the arm the assailant. Dudis follows Liddell’s (2003) use of the vertical slash symbol to indicate roles of body partitions, captioning the picture: “The |victim| and the |assailant’s forearm|”. Here, we have another challenge to sign language tran- scription.
example is the direction of a verb of communication or transfer directed to an absent third person as if that person were present. If the person is a child, for example, the gesture and gaze will be directed downward (as in our example of grandfather giving a ball to a child). There is no standard way of notating surrogates; Liddell makes uses of diagrams drawn from mental space theory, in which “mental space elements” are blended with “real space”. Taub (2001, 82) represents surrogates by superimposing an imagined figure as a line drawing onto a space with a photograph of the signer. Both signs in Figure 43.4 mean ‘I give to her’, but in A the surrogate is an adult and in B it is a child. Again, a standardized notation is needed. Paul Dudis (2004; Wulf/Dudis 2005) has described how the signer can partition his or her body to simultaneously present different viewpoints on a scene or different partici- pants in an event. So far, there is no established means of notating this aspect of signing. For example, Dudis (2004, 232) provides a picture of a signer demonstrating that someone was struck in the face. The signer’s face and facial expression indicates the victim, and the arm the assailant. Dudis follows Liddell’s (2003) use of the vertical slash symbol to indicate roles of body partitions, captioning the picture: “The |victim| and the |assailant’s forearm|”. Here, we have another challenge to sign language tran- scription.
Fig. 43.5: Example of ELAN format (taken from: http://www.lat-mpi.eu/tools/elan/). Like SignStream, ELAN (formerly Eudico) is a linguistic annotation tool that creates tiers for markup, can coordinate transcription at each tier for distinct attributes, and can play back the video (or other) original recording along with the tiers. The tool is being developed at the Max Planck Institute for Psycholinguistics (see Wittenburg et al. 2006). ELAN is capable of coordinating up to four video sources, and of searching based on temporal or structural constraints. It is being used for both sign language projects, as part of ECHO (European Cultural Heritage Online), as well as for other
Fig. 43.5: Example of ELAN format (taken from: http://www.lat-mpi.eu/tools/elan/). Like SignStream, ELAN (formerly Eudico) is a linguistic annotation tool that creates tiers for markup, can coordinate transcription at each tier for distinct attributes, and can play back the video (or other) original recording along with the tiers. The tool is being developed at the Max Planck Institute for Psycholinguistics (see Wittenburg et al. 2006). ELAN is capable of coordinating up to four video sources, and of searching based on temporal or structural constraints. It is being used for both sign language projects, as part of ECHO (European Cultural Heritage Online), as well as for other
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