Sign Language Poetry on Screen: A Case Study of Ella Mae Lentz’s Silence, Oh Painful
Film and videography have played crucial roles in the documentation of performing arts. One such case is of sign language poetry (SLP), which materializes as a phenomenon through the polylogics among different media like visuals and the performing body. The ways of representation within these inters...
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| Format: | Article |
| Language: | English |
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Scientia Publishing House
2024-11-01
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| Series: | Acta Universitatis Sapientiae: Film and Media Studies |
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| Online Access: | https://acta.sapientia.ro/content/docs/06-422084.pdf |
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| _version_ | 1841543654810845184 |
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| author | Mohit Joshi Niraja Saraswat |
| author_facet | Mohit Joshi Niraja Saraswat |
| author_sort | Mohit Joshi |
| collection | DOAJ |
| description | Film and videography have played crucial roles in the documentation of performing arts. One such case is of sign language poetry (SLP), which materializes as a phenomenon through the polylogics among different media like visuals and the performing body. The ways of representation within these intersecting language systems of the body, camera, lights, etc. determine how SLP is received. This paper focuses on Ella Mae Lentz’s American Sign Language poem Silence, Oh Painful as a case study, and analyses multiple performances of it. Lentz’s own performance of the poem from her presentation at the 1987 National ASL Poetry Conference is the primary site of inquiry. In comparison, Alexis Boardrow Green’s performance of the poem, for her ASL Poetry Discourse Analysis course at UC San Diego, is examined. Current research aims to study sign language poetry as an intermedial phenomenon, and see how changes in the performing body and its visual representation affect the poem’s unfolding in space and time, with focus on Martin Heidegger’s concept of poetizing, Yuri Lotman’s semiotics, and Lars Elleström’s material intermediality. Moreover, the article also probes into how the usage of the two media (video and the performing body) affect the intended artwork. In light of varying performing bodies, the article further questions the autotelic qualities attributed to poetry from a new-critical approach to artworks, and inquires into the possibility of multiple unaffiliated intermedial phenomena branching from similar intentionalities. |
| format | Article |
| id | doaj-art-f1d2fabd17a64e0dbe2624f86b508907 |
| institution | Kabale University |
| issn | 2066-7779 |
| language | English |
| publishDate | 2024-11-01 |
| publisher | Scientia Publishing House |
| record_format | Article |
| series | Acta Universitatis Sapientiae: Film and Media Studies |
| spelling | doaj-art-f1d2fabd17a64e0dbe2624f86b5089072025-01-13T08:57:18ZengScientia Publishing HouseActa Universitatis Sapientiae: Film and Media Studies2066-77792024-11-012611315010.47745/ausfm-2024-0014Sign Language Poetry on Screen: A Case Study of Ella Mae Lentz’s Silence, Oh PainfulMohit Joshi0https://orcid.org/0000-0003-0975-0986Niraja Saraswat1https://orcid.org/0000-0001-6998-6144Malaviya National Institute of TechnologyMalaviya National Institute of TechnologyFilm and videography have played crucial roles in the documentation of performing arts. One such case is of sign language poetry (SLP), which materializes as a phenomenon through the polylogics among different media like visuals and the performing body. The ways of representation within these intersecting language systems of the body, camera, lights, etc. determine how SLP is received. This paper focuses on Ella Mae Lentz’s American Sign Language poem Silence, Oh Painful as a case study, and analyses multiple performances of it. Lentz’s own performance of the poem from her presentation at the 1987 National ASL Poetry Conference is the primary site of inquiry. In comparison, Alexis Boardrow Green’s performance of the poem, for her ASL Poetry Discourse Analysis course at UC San Diego, is examined. Current research aims to study sign language poetry as an intermedial phenomenon, and see how changes in the performing body and its visual representation affect the poem’s unfolding in space and time, with focus on Martin Heidegger’s concept of poetizing, Yuri Lotman’s semiotics, and Lars Elleström’s material intermediality. Moreover, the article also probes into how the usage of the two media (video and the performing body) affect the intended artwork. In light of varying performing bodies, the article further questions the autotelic qualities attributed to poetry from a new-critical approach to artworks, and inquires into the possibility of multiple unaffiliated intermedial phenomena branching from similar intentionalities.https://acta.sapientia.ro/content/docs/06-422084.pdfmaterial intermedialityperforming bodysign language poetryella mae lentzautotelic text |
| spellingShingle | Mohit Joshi Niraja Saraswat Sign Language Poetry on Screen: A Case Study of Ella Mae Lentz’s Silence, Oh Painful Acta Universitatis Sapientiae: Film and Media Studies material intermediality performing body sign language poetry ella mae lentz autotelic text |
| title | Sign Language Poetry on Screen: A Case Study of Ella Mae Lentz’s Silence, Oh Painful |
| title_full | Sign Language Poetry on Screen: A Case Study of Ella Mae Lentz’s Silence, Oh Painful |
| title_fullStr | Sign Language Poetry on Screen: A Case Study of Ella Mae Lentz’s Silence, Oh Painful |
| title_full_unstemmed | Sign Language Poetry on Screen: A Case Study of Ella Mae Lentz’s Silence, Oh Painful |
| title_short | Sign Language Poetry on Screen: A Case Study of Ella Mae Lentz’s Silence, Oh Painful |
| title_sort | sign language poetry on screen a case study of ella mae lentz s silence oh painful |
| topic | material intermediality performing body sign language poetry ella mae lentz autotelic text |
| url | https://acta.sapientia.ro/content/docs/06-422084.pdf |
| work_keys_str_mv | AT mohitjoshi signlanguagepoetryonscreenacasestudyofellamaelentzssilenceohpainful AT nirajasaraswat signlanguagepoetryonscreenacasestudyofellamaelentzssilenceohpainful |