By Cynthia Peters
Makes use of the archetypal idea of the carnival as a framework to interpret the evolution of ASL literature. This name indicates how Deaf artists and ASL performers have used and proceed to exploit their paintings as a way to traverse the boundaries among disenfranchisement and privilege.
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Additional info for Deaf American Literature: From Canival to the Canon
Indeed, convention and conference planners purposefully include sessions on cultural art forms both to promote them and to deepen the knowledge of attendees. ASL artists themselves are often on hand to conduct workshops. Laughter, Satire, and Parody As the earlier discussion of medieval festivals made clear, mainstream or dominant forms of discourse are often adapted and burlesqued during carnival. The similarly subversive, farcical nature of a great deal of our carnivalesque Deaf literature was much in evidence at the NAD convention in Knoxville, Tennessee, in 1994.
Susan R. D. , University of California at Berkeley, 1987), 14. “Clowning” is also often a vehicle for the expression of powerful social and political ideas, as can be seen in the traditional Punch and Judy puppet shows. The American manual alphabet has exactly twenty-six signs, one for each letter of the English alphabet: the first sign is the A handshape, the next is the B handshape, and so on. Chapter 3 Deaf Carnivals as Centers of Culture CARNIVALS, FESTIVALS, fairs, and conventions are a cornerstone of present-day Deaf culture.
16. Bakhtin, Rabelais and His World, 18. 17. , 10. 18. Peter Stallybrass and Allon White make a similar observation in The Poetics and Politics of Transgression (London: Methuen, 1986), 11. 19. Bakhtin, Rabelais and His World, 13. 20. , 10–11. 21. , 21. 22. Latin parodies or semiparodies were common. , “The Liturgy of the Carnival 31 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. Drunkards”), sacred prayers including the Ave Maria, litanies, hymns, psalms, and Gospel sayings. , “The Mule without a Bridle”).
Deaf American Literature: From Canival to the Canon by Cynthia Peters