ASL Literature
Byrne
construct, and present literary works effectively, imaginatively, and eloquently.
Every work should comprise literary devices (e.g., rhyme, rhythm, imagery, and
style), correct ASL language (e.g., word production, grammar, and non-manual
signals), aesthetics (e.g., innovative and complex yet simple, highly cohesive, and
delight inducing), and ASL socio-cultural aspects (e.g., authenticity of native
signers’ experiences, thoughts, and emotions). At the same time, differences
between the folkloristic and single-authored works must be noted for the former
emphasizes content whereas the latter expands to include on the structure of the
work. The benefits of ASL literature include the literary experience appreciated
with an enduring interest in the visual and gestural modality and how it applies to
all individuals.
The Question of Translation
One may wonder why originality matters for ASL literature. What is wrong with those
works translated from English? In the Canadian province of Ontario, ASL literature is subject to
integration into the curriculum for use in schools for the deaf. A teacher who is employed at one
of these schools, Linda Wall, made this important observation: “Original ASL stories and poetry
convey the experiences and emotions of ASL culture” (Miller, 2008, n.p.). The term ASL culture
may not be widely used in the literature, but this teacher was trying to make the point that the
literature is tied to the language. Heather Gibson who leads the curriculum work at the Ontario
provincial schools for the deaf provided an explanation for why originality is important and why
English-to-ASL translations should be avoided:
[L]iterary works are intimately tied to the culture from which they spring and have
their deepest meaning and strongest impact when the storyteller and audien ce share
a common cultural ground. Previously, poetry, songs and stories were translated
from English to ASL. Deaf Cinderella is a classic example. This translated
curriculum never fully resonated with [ASL-using deaf] children because it came
from an experience foreign to them. It would be like an anglophone learning
English only through translations of French literature. (Miller, 2008, n.p.)
The ASL and Deaf Studies experts interviewed in the author’s doctoral dissertation
provided their perspectives on English-to-ASL translations. One expert was adamant about the
oppressive nature of translation and how languages ought to be separated when it comes to
literature. Another expert ironically commented, “To translate a book from English to ASL is
easier than creating an original ASL literary work. [This is why] there are so many translated works
out there”.
The translation issues that arise in ASL literature occur in other languages. Because of
linguistic and cultural differences and complexities, not every work can be appropriately and
accurately translated. For example, “poems, [humor], puns, a play between different linguistic
registers or vocabulary, stylistic qualities, multi-levels of meaning, connotations, imagery, and
culturally specific allusion” cannot be translated (Finnegan, 1992, p. 178). Sapir (1921, p. 237)
states the following:
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