ASL Literature
Byrne
be true for other single-authored works in ASL. This does not mean that The Hitchhiker is obsolete
as it continues to have its own value and function. For one thing, folklore allows anybody to tell
or re-tell a piece while it is a different matter for a single-authored work (as it would be difficult
to duplicate and needs to be studied for how it is told artistically). Should there be a study of ASL
folklore, students will need to have the opportunity to view different versions of The Hitchhiker
through videotape for study. This is where the students will learn that a narrative may vary (among
signers) yet preserve itself at the same time, which is crucial for understanding the nature of the
folklore tradition in general.
A Comprehensive Definition for ASL Literature
At this point, it becomes clear that ASL literature is real. The fact that ASL literature is
subject to scholarly study and publications through articles and books (e.g., Bahan, 1992; Bauman,
Nelson, & Rose, 2006; Brueggemann, 2009; Byrne, 1996; Christie & Wilkins, 1997; Frishberg,
1988; Kuntze, 1993; Lane et al., 1996; Marsh, 1999; Ormsby, 1995; Peters, 2000; Rose, 1992,
1994; S. Supalla & Bahan, 1994a, 1994b; Valli et al., 2011) is encouraging. Rose (1994, p. 155)
explained that “[a]s ASL literature joins the canon of world literature, scholars and artists need to
ensure that this literature in a visual-spatial mode establishes its own criteria for what constitutes
quality”. A comprehensive definition would thus be a good start. Of particular importance is the
issue that there are some ASL works on the market that appear to be of questionable quality and
misrepresent deaf culture (S. Supalla, 2006). There are seven known definitions of ASL literature
developed by scholars and they are in need of a critical review. The definitions are as follow:
Table 1
Existing Definitions of ASL Literature
Sources Existing Definitions of ASL Literature
Byrne (1996, p. 49) The term ‘ASL literature’ includes not only stories in ASL but also
ASL poetry, riddles, [humor], and other genres of a ‘through the air’
literary tradition. ASL literature is not English literature translated
into ASL but is comprised of original compositions that have arisen
from the thoughts, emotions, and experiences of culturally [d]eaf
people, and have been passed on by ‘hand’ (through ASL) from one
generation to another.
Like most languages without a written form, ASL has a literature
that has been passed down and shared within generations in a face-
to-face manner. And like most languages having a rich ‘oral’
literary tradition, the storytellers/poets of ASL have a respected and
leading role in the nurturing and growth of ASL literature.
According to [Peter] Cook, the basic ingredients of ASL literature
include not only the building blocks and grammar of ASL, but also
miming and gestures that exploit the visual medium. Thus, in much
the same way that the poetry of nonsigned languages use sound play
and rhyme, ASL poetry uses visual play and sign rhymes.
Christie & Wilkins
(1997, p. 58)
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