A New Dictionary of Sign Language: Employing the Eschkol-Wachmann Movement Notation System 3110813815, 9783110813814

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TABLE OF CONTENTS

Preface

7

PART ONE Introduction

13

0. 0 About this dictionary

15

1. 0 Some aspects of sign language 1 . 1 Iconicity 1.2 Displacements 1 . 3 Covariance 1.4 The relation between different sign languages . . 1. 5 Transfer of meaning 1.6 Spatialization 1.7 Proper names 1. 8 Parts of speech 1. 9 Opaque signs 1.10 Pointing 1.11 Directionality 1.12 Reduplication 1.13 Paralinguistic features 1.14 Compounds 1.15 Blends 1.16 The signing sequence 1.17 Growth of sign language

17 17 17 18 19 20 22 22 23 24 25 25 26 26 27 28 29 30

2. 0 Compiling the dictionary 2 . 1 Informants 2. 2 Variations in signing 2. 3 Recording of signs 2.4 The bases of signs

31 31 32 33 33

3. 0 Using the dictionary 3 . 1 Variations in signing 3. 2 Arrangement of the Sign-to-Engllsh section (Part m) • • • • • • • « • « • • • • • • • • • • • 3 . 2 . 1 Grouping of material in chapters 3.2.2 Form of entries 3. 2. 3 Compound signs

34 34 35 35 36 37

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3 . 2 . 4 Verbal descriptions of signs 3. 3 Arrangement of the English-to-Sign section (Part IV) 3. 3 . 1 Form of entries 3 . 3 . 2 The appendix

39 41 41 42

PART TWO The Eshkol-Wachmann Movement notation system

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1. 0 The manuscript page 1.1 Representation of the limbs 1.2 Representation of time

47 47 47

2.0

49

'Light' and'heavy' limbs

3. 0 The system of reference 3 . 1 Movement within a sphere, and the construction of the system of reference 3. 2 The coordinate grid and the positions 3. 3 The individual systems of reference

51 51 51 55

4. 0 Zero position and rotatory states

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5. 0 Paths, amount, and types of movement 5 . 1 Paths, and the axis of movement 5. 2 Amounts of movement 5.3 Types of movement 5 . 3 . 1 Rotatory movement 5 . 3 . 2 Plane movement 5. 3. 3 Conical movement 5.4 Combinations of types of movement

61 61 63 63 63 65 71 75

6. 0 Simultaneous movement and fixation 6 . 1 Simultaneous movement 6 . 2 Fixation 6. 2 . 1 Fixation of position 6. 2.2 Fixation of plane of movement 6. 2.3 Fixation of a rotatory state

77 77 77 77 81 81

7.0

Contact and opposition 7 . 1 Contact 7 . 2 Opposition

81 81 82

8.0

Topographical positions (mapping of the body surface) .

83

9.0

Traced patterns of contact 9 . 1 Tracing a straight line 9. 2 Tracing a circle 9. 3 ' Tracing' a semicircle in space

87 87 89 89

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10. 0 Hand-shapes

89

11.0 Notation conventions 11.1 Conventions relating to dynamic aspects . . . . 11.1.1 Repetition 11.1.2 Reversal 11.1.3 Acceleration 11.1.4 Transition between time units 11.1. 5 Simultaneity or sequentiality of occurrence 11.1.6 Continuity over time units 11.2 Conventions relating to bilateral symmetry . . . 11. 2.1 Positions 11.2.2 Movements 11.3 Additional conventions relating to movement symbols 11. 3.1 Duration of movements 11.3.2 Amounts of movement 11. 3.3 Plane movement conventions 11. 3.4 Conical movement in the palm space . . . 11. 3. 5 Fluttering hand movements 11.4 Other conventions 11.4.1'Passivity' 11.4. 2 The upper arm position 11.4. 3 The mouth 11.4.4 The eyes 11.4. 5 Crossed limbs

92 92 92 92 93 93 93 94 94 94 94 94 94 95 95 95 95 96 96 96 96 96 97

PART THREE Sign-to-English section

123

1 Flat hand 2 Fist 3 Spread hand 4 Extended index finger 5 Spoon 6 Bunched fingers 7 Paying hand 8 Claw 9 Two fingers extended 10 Two fingers spread 11 Butterfly 12 C-fingers and C-hand 13 Extended thumb 14 Miscellaneous hand-shapes 15 Head . 16 Face 17 Mouth 18 Forehead 19 Nose

130 168 186 202 220 226 234 246 254 262 272 282 290 296 320 332 342 360 370

12 20 21 22 23

Neck and chin Chest Miscellaneous Numbers and blends with numbers

374 382 398 424

PART FOUR English-to-Sign section

435

Engllsh-to-Sign section Appendix Subject index

439 451 453

PREFACE

This dictionary is a cooperative enterprise. If everyone who made an independent contribution to it had been named as its authors the result would have been a very long and unwieldy list indeed. By default, our indebtedness is here acknowledged to all those who unstintingly devoted their time and effort to the production of this book. The f i r s t initiative for compiling the dictionary came from Tsiyona Peled, who made the initial attempt to use a version of the EshkolWachmann movement notation system for the purpose of recording signs. The system was later specially adapted for sign language notation by its originator, Noa Eshkol, who during her work with us was called upon to solve innumerable problems connected with the Sign-to-English section of the dictionary. We are greatly indebted to Miss Eshkol and other Movement Notation Society personnel - notably John Harries and S. Seidel, assisted by Tirza Sapir and Michal Shoshani - for all the time and painstaking efforts they devoted to our project. Part II of the dictionary comprises a special chapter explaining the notation system, prepared by Noa Eshkol, and edited by the second author (L. N. ). Sharon Haselkorn critically read the first draft of this chapter and her helpful comments led to a number of clarifications and corrections. The graphic work in Parts n and III was executed by J. Harries - who also prepared the layout in Part III - assisted by S. Seidel. At the inception of our work we consulted Professor Ch. Rabin of the Hebrew University of Jerusalem. His expert linguistic advice and p r a c tical suggestions were of the greatest value to us. Naturally the dictionary could never have been prepared without the unfailing patience of our informants, who bore with fortitude what must have often seemed illogical and tiresome requests for more and more repetition and precision. Our main informant, Israel Sella (official int e r p r e t e r for the deaf) also provided us with information concerning the origin of most of the signs in the dictionary. Mr. Sella assisted us in many ways throughout the study on which the dictionary was based, and his enthusiasm and many insights were quite invaluable. Additional informants with whom it was a pleasure to cooperate at different stages of the work were S. Landau and Tsilla Farkash. The English translation of signs was undertaken by Bina P r e s s e r , who also exercised considerable ingenuity in formulating that part of the entry which explains the origin of signs. In preparing the verbal descriptions of signs we were greatly helped by M. Mordechai and Erika Roded, who carefully cross-checked signs with our informants. Libby Miransky also invested much effort in this part of the dictionary, assisted by Tova Saltz. We want to express our gratitude as well to Shulamit Bamberger, R. La vie, and Shulamit Stern for their contributions at different stages

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of the work, and to J. Shunary, on whose investigations some of the material in Part I is based; also to Elka Sorcher, Tsilla Meroz, and J . Wolfin, for their able technical assistance. We had the benefit of some interesting discussions with Lars von der Lieth of Copenhagen University, to whom we are indebted for the information about the Danish sign language. Last but not least, we are indebted to the many people whose interest heartened and encouraged us : in particular we want to mention the late Professor E. Adler, whose understanding and support aided us throughout the project which gave rise to this dictionary; our thanks go too to P r o fessor Y.Bar-Hillel of the Hebrew University, Dr. M.Kurtz, DirectorGeneral of the Ministry of Social Welfare, and Mr. A. Reich, Director of the Helen Keller Home, and Association of the Deaf and Mute in Israel. The collection and recording of signs appearing in Part 111 was the responsibility of the first author ( E. C. ); the verbal description of signs was the responsibility of the second author ( L. N. ), who also coordinated the project and edited the dictionary; the introduction ( Part I) was written by the third author ( I. M. S. ) in collaboration with the second author ( L . N . ). Work on this dictionary was conducted as part of a project carried out at the Psychology Department of the Hebrew University of Jerusalem ( I. M. Schlesinger and J. Shunary, principal investigators ), in cooperation with the Association of the Deaf and Mute in Israel, and the Helen Keller Home. This project, entitled The potentialities of visual communication systems for the deaf was supported by the Social and Rehabilitation Service of the U. S. Department of Health, Education, and Welfare, under grant no. VRA-ISR-32-67. A small grant toward publication of the dictionary was also made by the Association of the Deaf and Mute in Israel. We are thankful to Mr. Reich and Mr. Saporta for making this available to us. E. C., L. N., I. M.S.

PART I INTRODUCTION

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0. 0 ABOUT THIS DICTIONARY

Sign language appears to be spontaneously acquired in every community of deaf persons. It is a full-fledged language in a medium which differs from that of the spoken language, not simply pantomime ( see section 1.16), and not to be confused with finger spelling, which is a letter-byletter translation from the vernacular. Rather, it is quite independent of the spoken language, with stable, conventional signs conveying concepts. The configuration in which one or both hands are held, the pattern of the movement executed by the hands, the direction in which this movement is made, its speed and rhythm, as well as the accompanying facial expression of the signer, are all part of the language - which serves a s the main, and sometimes the only, means of communication between the deaf. Remarkably little scientific investigation of the phenomenon of sign language has been made, and those few languages which have been the subject of recent study tend to make extensive use of finger-spelling. In Israel, however, up to the time of writing, finger-spelling has not been used. The Israeli sign language is thus maximally independent of spoken language, and in consequence is of special linguistic interest. The present work is the first dictionary to be compiled for this language. While the various sign languages used by the deaf differ somewhat from each other, there is considerable overlap between them (see section 1.4 ). Experience shows that, apart from the use of finger-spelling, signers of various countries readily learn to understand one another's sign languages. Such signers, upon their first meeting, appear immediately to achieve a certain level of mutual comprehension, while picking up an entire system may take, according to varying accounts, from as little as a few hours to at most a few weeks of contact. Many of the features found in our research on the Israeli sign language are similar to those reported in the literature concerning other sign languages, and possibly the present attempt to describe the Israel sign language may at the same time describe or represent certain features common to all ; ign languages. In the present work both a Sign-to-English and an English-to-Sign section are given ( P a r t s IE and IV). A novel feature is the way in which signs a r e recorded. The problem of a three-dimensional recording technique has been a continued source of difficulty for all descriptions of gestures and sign languages. Most signs involve movements as well as hand and body positions. None of the commonly used techniques like photographs o r other two-dimensional systems such a s drawings - even when supplemented by arrows suggesting paths of movement - make it possible to render a complete, unambiguous description of signs which allows their accurate reproduction. An entirely new departure seemed therefore

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to be called for. A notation for visual languages which parallels the phonetic alphabet for vocal languages is clearly requisite. The Eshkol-Wachmann Movement Notation system employed in this dictionary makes possible faithful reproduction and analysis of any sign, and indeed of any bodily movement. However, it should be emphasized that the major advantage of a notation system over diagrams and series of photographs does not lie simply in the factor of better reproducibility of performance. Even supposing that perfect reproducibility were possible by some as yet nonexistent improved diagrammatic technique: for linguistic analysis it would still be necessary to design a notation system for breaking down sign language into its elements. In this sense, too, a notation system fulfills the same function for sign language as the phonetic notation for spoken language. No linguist would be satisfied with a taperecorded dictionary of spoken language, even if convenient to operate, in lieu of "alphabetic" transcription of its vocabulary. In our opinion the few previous attempts at devising such visuallanguage notation systems have been none too successful. This would seem to be because they have tended to focus on those aspects of the sign which appeared to them to carry the meaning. By contrast, the Eshkol-Wachmann system employed here is concerned with physical properties, and may be said to deal primarily with KINETICS (in analogy with PHONETICS), rather than KINEMICS. Unlike other systems, it makes very few and only the simplest of assumptions as to which contrasts are meaningful. There is undoubtedly room for a kinemic description of signs, paralleling the phonemic description of vocal languages, which is concerned with meaningful contrasts. We believe, however, that before kinemics can be used in the description of sign language, much material needs to be analyzed and this analysis will have to be based on a kinetic description. The notation is basically a very general one, designed to render precise descriptions of any movement made by any part of the body. This system has been used in recording movements of various types (for example, in the field of physical training, dancing or even ethological observation). Here it has been specially adapted for use in sign language notation. Although at first sight the system may appear somewhat forbidding, in our experience (during our study several instruction courses in sign notation were given) it can readily be acquired with practice, and, once acquired, appears to contribute to sharpening accurate perception of signing. A special chapter on the notation should serve to introduce the reader to its use. In addition to the notation the dictionary also includes a brief verbal description of each sign, giving a very general idea of what it looks like. These descriptions are not intended to replace the notation system, but rather to facilitate the new u s e r ' s reading of it by providing an extra means of checking performance. Further information on the use of the dictionary is given in P a r t I, section 3.

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1. 0 SOME ASPECTS OF SIGN LANGUAGE The following section will give a short description of some peculiarities of sign language for those readers who are not familiar with it. A dictionary of sign language has far greater need for such an introduction than do other dictionaries, for sign language differs in many respects from spoken language to a far greater extent than do spoken languages from one another. The fact that sign language employs the visual instead of the acoustic medium imposes upon it certain constraints while also presenting new possibilities not available in spoken language. The examples given in the following are taken from the Israeli sign language, but to the best of our knowledge the general propositions made hold equally for other sign languages. 1 . 1 ICONICITY Perhaps the most striking feature of sign language is the fact that many signs are ICONIC, i. e . , their physical appearance bears some resemblance to what is denoted by them. To indicate an action the signer generally performs an abbreviated imitation of a characteristic part of it: write, for example, is signed by making such an imitative movement ( 1 1 . 1 5 ) ;*1 eat is signed by a movement as if bringing food to the mouth (17. 25). Objects may be portrayed by the hands: for instance, tree is signed by the forearm ' standing' upright like a tree trunk, the hand suggesting the branches ( 3 . 1 ) ; sometimes the object referred to is outlined in the air, as in candle (12.4 ). Similarly properties and states are evoked, as in fat (3.16, note), or fragmentarily mimicked, as in the case of sleep ( 1 5 . 1 ) . ( F o r a discussion of the aspects which are signed iconically, see section 1.4 below. ) Although imitation and portrayal permeate sign language, it should be stressed that what is involved is not a fluid, spontaneously improvised, full pantomime but rather an extremely abbreviated, stylized system of signs which, apart from a few exceptions (see section 1.3 ), are performed in a highly conventionalized manner. Only occasionally free pantomime is resorted to in order to supplement signing. Due to their frequently iconic nature the meaning of signs is by comparison far more transparent than that of words in spoken language (see also section 1. 5 below). This factor has been cited in claiming that sign language is relatively easy to learn and readily understood at least by the deaf themselves (see section 1 . 4 ) . The question of whether, on the other hand, the iconicity of the language may have some adverse effect on cognitive functioning deserves further study and is beyond the scope of the pregent discussion. *2 1. 2 DISPLACEMENT When an object is portrayed by the signer, his fingers, hands, arms, e t c . , represent the object or some part of it, e. g., the forearm r e presents the trunk in tree (3.1). In denoting actions, the signing limb

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may assume the role of a different limb, as when walk is signed by two fingers moving (10. 8). It may be said that in such cases there is a DISPLACEMENT (from the trunk to the forearm, or from the legs to the fingers). Obviously many signs could not be signed iconically but for such a displacement. There are different degrees of relation between the performing limb and the object or action portrayed by it. These include, on the one hand, cases such as the above where the arm stands for something quite different like a tree trunk, and on the other hand there are cases like that of wine (20. 8) which has as its base ( see section 1. 5) tapping the neck of a bottle. Here sign language, like spoken language, capitalizes on what is common to the bottle's neck and the person's neck, and the movement (tapping the neck of a wine bottle) is carried out at the signer's own neck. Naturally the range of possible movement in signing is restricted, and the area in front of the chest is the space where most signs are performed. Spatial displacement obviously occurs very frequently indeed; to give just one example, in signing stand the fingers are stood on the palm of the hand instead of on the floor (here we have, in addition to spatial displacement, an example of displacement from one limb to another). 1. 3 COVARIANCE While many concepts are expressed by signs which have a more or less fixed form, there are many others for each of which sign language has an indefinite number of iconic signs. How one signs carry will depend on what it is that is being carried - a suitcase, a tray, a baby, or a lady's handbag . . . There is, similarly, an indefinite number of signs for cups, bowls, and other receptacles, each of which portrays the object it denotes. These signs may be said to COVARY with their meaning. In principle, the number of covariant signs for each of these concepts is unlimited: any time that a bowl of a different shape is referred to, a somewhat different sign may be used for it, and should a new technique of carrying be invented, an appropriate new sign might come into being. This should not be confused with what may seem, at first glance, to be a related phenomenon in spoken language where a large number of terms exists for what might be looked upon as essentially kindred referents - for instance, the existence of many terms in the Eskimo language for what we refer to by the single word 'snow'. Imagine the unlikely event that an Eskimo should encounter a new type of snow - what new word could he invent for it? Snow is not the kind of thing which lends itself easily to iconic description by sounds, and hence the Eskimo discoverer would either have to use a phrase or a compound, or else to decide on a more or less arbitrary sound sequence (which may or may not gain acceptance among the speakers of his language). Covariance, on the other hand, is made possible by the iconicity of sign language: the new referent is signed by inventing a new imitation or portrayal which will be easily recognized. This possibility of improvising signs easily is

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due to iconicity and has the result that the class of covariant signs is what may be called an open class, i. e . , it can be enlarged indefinitely in an ad hoc manner. Certain signs covary continuously along some physical dimension. The signs for wide (3.16), short and tall ( 1 . 1 and note), etc., may be performed so as to give an indication of how wide or short or tall the thing in question is. *3 Signs may be executed varyingly so as to portray the physical characteristics of the object referred to, e. g . , in signing table different magnitudes of the sign performance will indicate whether a large or small table is intended. Similarly, some concepts are denoted by signs which a r e themselves fixed, but covary in the location of their execution. Thus the place where pocket (22. 8), for example, is signed covaries according to whether it is a vest pocket, a waist or back pocket, etc., which is being referred to; the location of the sign for wound ( 8.11) likewise covaries according to the part of the body involved where the wound occurs. The boundary between what covaries and what is fixed should not be expected to be too rigid. (See section 1.16, end.) It should also be noted that even among the fixed signs there may be considerable leeway for variations in performance. 1.4 THE RELATION BETWEEN DIFFERENT SIGN LANGUAGES The preceding discussion of iconicity ( section 1.1 ) may have led u s to assume that many signs occurring in the sign language of the deaf in one country may also be found in that of another, and indeed the notion of sign language as a natural, universal language was once prevalent. There is in fact quite a degree of overlap between different sign languages; however, the extent and range of similarity and diversity requires further investigation. Such lexical overlap as exists could be attributed either to generic relatedness or to iconicity. As for the former, conclusions would have to be based on independent historical evidence. Some such evidence indeed exists regarding the sign languages of various European countries, and it is known that Israeli sign language has been influenced by older, imported sign languages. Even without such generic relatedness it may be expected that because signs in some way resemble the concepts they denote, they should resemble one another a c r o s s languages. There is, however, no one-to-one correspondence between concepts and the shapes of iconic signs which stand for them. There a r e obvious examples, such as bread ( 1.102 ), which is signed differently in different communities according to its typical shape, or the customary manner of breaking or slicing it. But even in the absence of cultural differences, there are numerous ways in which objects and activités might be protrayed. A given receptacle, for example, may be signed by f o r m ing its shape with cupped hands, or by drawing its outline in the air. An action may be imitated variously, performance differing on several dimensions : for example, the Israeli signer may r e f e r to kneel by slightly bending his knees (that is, without displacement ( see section 1.2 )) while American signers use displacement and 'kneel' the fingers of one

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hand on the palm of the other. Furthermore, signs will almost never portray an object or action in its entirety, but only an aspect, part, property or related action or characteristic. Thus there are very many possible ways of signing the same thing. To take another concrete example, hen can be referred to by portraying its beak (as is in fact the case in the Israeli sign language (17.43)); or by imitating its comb (as in the Danish sign language), or by imitating the flutter of its wings, its care for chicks, pecking grain, or any other salient characteristic. Conceivably each sign language may choose a different attribute, and as a consequence different signs for hen across languages may not resemble one another in the least. They may nevertheless all be transparent to an observer. The above process - which we call transfer of meaning - is discussed further in the following section. 1. 5 TRANSFER OF MEANING Not all concepts can be directly described iconically. In such cases a sign often describes something related to the concept referred to. A color (red, for example) cannot be imitated by the hand, but the lips can be indicated ( 1 7 . 1 2 ) in order to suggest 'red'. Similarly, a whole hen is not easily described by gesture, and the sign (in Israeli sign language) portrays its beak (17.43 ). We use the term REFERENT*4 for what the sign is intended to denote (the color red, the hen, etc.), and the term BASE for the concept directly described by the sign (the lips, the hen's beak, etc.). We may say that meaning is 'transferred' from the base to the referent. A similar process is often discussed under the terms METONYMY ( e . g . , the crown standing for the king; compare with sign 15.18), SYNECHDOCHE ( e . g . , sails meaning ships), and METAPHOR. For many signs, of course, no transfer of meaning takes place: the signs for walk, or tree, discussed in section 1. 2, describe the referents directly and not via some other idea. (See also section 2 . 4 on the bases of signs.) At this point a note seems to be called for on our use of the terms iconicity (discussed in section 1 . 1 ) and the related notion of transparency. TRANSPARENCY is used to indicate the degree to which the meaning of a sign may be understood, without prior knowledge, from its physical appearance. ICONICITY pertains to the similarity between the sign and the base, and not to that between the sign and the referent (except, of course, in those cases where bases and referents are the same, as in tree, etc.). Consider, for example, the sign consisting of a tapping movement on the leg made while pursing the lips, imitating a typical way of calling a dog. This is evidently very iconic, and the fact that this sign (22.12), used to refer to 'dog', clearly does not r e semble the concept directly is irrelevant to its iconicity. On the other hand, it may or may not detract from its transparency (i. e . , the facility with which the referent 'dog' may be retrieved by the observer of the sign). The degree of transparency will thus be a function of both iconicity (the sign-base relationship) and the kind of transfer of meaning - if any - which occurs (the base-referent relationship). These

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relationships are presented schematically in Figure 1.

referent -

Example 1

Example 2

dog

coffee

calling a dog

grinding of coffee beans

tapping leg

grinding movements of fists

transfer of meaning a l c 0 n 1 c i t y

--base

Figure 1: Transfer of meaning: iconicity, and transparency The notion of transfer of meaning should not, of course, be construed as necessarily referring to a conscious process. The signer need not be aware that he is describing a beak instead of a hen, or lips instead of the color red, just as the speaker of English need not be aware that he is using a metaphor in speaking of 'the foot of a mountain', 'cutting one's losses', or a vast array of similar expressions. Undoubtedly signers often are aware of the source of a sign, and many of them will, when questioned, offer 'etymologies' - which may or may not be accurate historically - but this psychological feet is quite independent of linguistic statements about transfer of meaning. Neither should transfer of meaning be taken to involve a process of historical change. In fact this term was chosen precisely because it smacks less of a change in time than the terms ' semantic change' and 'change of meaning' currently in use. Some cases of transfer of meaning may reflect diachronic processes; in others it seems unlikely that the sign was first used for what is now its base, and that its meaning was subsequently transferred to the referent. For instance, in the case of hen it is quite implausible that the need to refer to hens' beaks arose before the need to refer to hens.

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Transfer of meaning may result in polysemy: one sign stands for different related referents. For instance, the sign for river (2.15) consists of making rowing movements, the base being 'to row'. The sign for to row is the same as that for river. Here, and in similar cases, row and river will be the same dictionary entry. The case is different for paint and repair. The base of repair (7. 20) is 'to paint', signed by a moving fist as if holding a brush, brushing back and forth on the palm of the other hand. The sign for to paint, (1.10), however, is different; it is made by moving the hand, representing a brush, in the air as if painting a wall. Paint and repair are thus two different dictionary entries. Similarly, house (1.35) has as its base 'roof', but the sign for roof ( 1 . 4 ) is not signed in the same way, two different ways of portraying a roof being employed. In the dictionary we have proposed bases for the signs (See section 2.4). 1. 6 SPATIALIZATION This term refers to a kind of transfer of meaning which is especially frequent in sign language. Many concepts cannot be described directly iconically because they are not spatial or visual in character and a r e therefore signed via a visual image which can be conjured up by the hands. For lack of a better term, we have called this SPATIALIZATION, by which we refer to any transfer of meaning from a concept with some visualizable aspect, which can be indicated or represented in threedimensional space, to such a referent. For example, forget (18.15) is signed as if brushing something off the forehead, and learn (18.11) by a sign evoking the image of putting something into the head. Concepts related to time a r e signed by means of associated notions of space: after (14. 9) has as its base 'in front of' and day (4.29), and hour (4. 36) are signed by portraying the sun rising and setting and the moving hand of a clock. Referents having to do with sound have visible bases, for example, voice (20.2 ) has 'throat' a s its base; tell (17. 5) has 'mouth' as its base. Spatialization occurs also in spoken language, for example, when languages are called 'tongues'. The fact that there is hardly any other possibility of iconic signing of nonspatial referents undoubtedly accounts for the great frequency of spatialization. Metaphors other than spatialization a r e rare in sign language. Especially noteworthy is the absence in Israeli sign language of those metaphors which involve body terms, such as 'foot of the mountain', 'leg of the table', 'head of state', 'eye of the needle', 'mouth of the river'. We suspect this may have something to do with the iconicity of the language, but we shall not pursue this matter here. 1. 7 PROPER NAMES Proper names in sign language a r e assigned by transfer of meaning. The base of place-names may be a well-known landmark (e. g., the

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Eiffel Tower in the sign for France (18. 6)), a traditional article of clothing ( e . g . , the Dutch headgear for Holland), a custom or activity ( e . g . , kissing the Wailing Wall for Jerusalem (17. 2) or bull-fighting for Spain) or some typical geographical feature (e. g., allusion to the three seas in Denmark or by indicating the relative place on the map in signing Beer-Sheva), and so on. In sign language people are referred to by names which (like nicknames) are acquired by virtue of some physical, feature in their appearance (such as a particular hairstyle, or dimples), some typical habit (pinching cheeks, or riding a bicycle, for example), their occupation, or the like. There need not be a relation between the person's official name and the 'nickname' given him by the community of signers, although, as in the case of loan translations - discussed below - this sometimes happens. Proper names assigned to persons in sign language are relatively transparent and frequently not as innocuous as John, Paul, or Sue. Sometimes the deaf resent these personal signs and attempt to initiate alternatives. In this, it would appear, however, that they come up against obstacles: in the first place a sign once acquired is stuck to tenaciously by the deaf community. Thus, for example, a boy who acquired the nickname 'torn sleeve' as a poor orphan still bears this sign today although now a grown man, well-off and very smartly dressed (see poor, 8.16). An additional obstacle perhaps lies in the fact that although the deaf may know their spoken and written names, they cannot translate these names into sign language because of the lack of rules of correspondence between the sounds of spoken language and the visible movements of sign language. (The Scandinavian hand-mouth system, cued speech and finger-spelling - not used in Israel - provide a means of doing just this, but it should be noted that such systems are distinct from sign language proper). In this respect the barrier between sign and spoken languages is much greater than that between any two spoken languages. There is no special difficulty for an English-speaking person to insert, for example, a Polynesian name into English conversation: but a signer who wants to talk about Mary must either finger-spell, or, failing this possibility, invent an entirely new name for her. Sometimes a compromise is arrived at In the form of a loan translation such that the base of the name in sign language is identical with the base of the name in spoken language: the Hebrew name Zippora derives from a word meaning 'bird' and the sign for a certain member of the deaf club of that name was the sign for bird (1.24). Less fortunate was a boy whose name resembled in lip-reading the Hebrew word for 'Germany'. He was given what he regarded as an improper name - one of the signs used to denote Germany (1. 2), namely, the Nazi salute. Additional examples of proper names appearing in the dictionary ( f o r some of which the origin is not known) are 12.1, 16.2, 18.4, 20.4, and 21. 27. 1. 8 PARTS OF SPEECH Two concepts which in spoken language are referred to by words belonging to different parts of speech will often have the same sign in

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sign language. The sign for sew is also that for tailor, namely an imitation of the action of sewing (11.19); eat and food are the same sign (17.25), and to fish is like fisherman ( 7.23). Obviously transfer of meaning (see section 1 . 5 ) is involved here. In English, as in many other languages, words of the same root belonging to different parts of speech (like 'bake' and 'baker') are often distinguished inflectionally. They are denoted by the same sign in sign language since it has neither prefixes nor suffixes. These, being noniconic, would seem to be out of tune with a language in which many signs have some degree of transparency of meaning, and are therefore unlikely to arise spontaneously in sign language. (It is naturally possible to graft these affixes onto signs, as some have attempted to do.) In the less inflectional languages like English we also occasionally find such a functional change, for example, 'contact' (noun) and'contact' (verb), or'adult' (noun) and 'adult' (adjective). 1. 9 OPAQUE SIGNS The meaning of many signs is transparent: the sign either directly depicts its referent, or describes a concept related to it which can be retrieved or approximately guessed at by looking at the sign (see section 1. 5). Fewer signs are OPAQUE in the sense that there is no clue as to the connection between their shape and their meaning. Such, for example, are the signs for green (20.19), or trip (16.13). These signs may once have been transparent, the connection between sign and referent having been masked over time. Factors contributing to such a fading of transparency may include ( 1 ) minor changes in the execution of a sign for reasons of convenience of execution, abbreviation, etc. ; ( 2 ) the transfer of meaning in which the sign originated may be forgotten. A possible example of the latter could be the sign for Tel Aviv (22 . 54), which might have been related to the physical characteristics of someone, long since forgotten, associated with that town. We know of a few such cases of 'chains' of transfer of meaning in the Israeli sign language (characteristic of some person - the person - the town from which he hails) among Israeli place names. An example of this is beard - Theodor Herzl - the town of Herzliya. *5 Another possibility, (3 ) is that the sign was imported from another sign language, *6 where it may have been related to finger-spelling, speech, or the Danish hand-mouth system. For the Israeli signer, unfamiliar with these systems, the sign's origin is masked. Possible examples of this last case are the signs for can (10.12), that's right (15. 24 ), and impossible (15.22), which are very similar to the Danish signs of similar meaning. For some further examples of opaque signs see 1. 79, 2. 30, 5.17, 6.11, 16.8. A special type of opaque sign is the POPULAR GESTURE. Some gestures used by speaking people, like the headshake for 'no' or nod for 'yes' are almost, if not quite, ubiquitous, and find their way into sign language. Their origin, however, is not known with any certainty. Other less widespread gestures - for example, that commonly used in the Middle East to signify 'just a moment!' - are also used by signers

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(6.4 ). Such gestures will be understood by persons ignorant of sign language as they are part of the common cultural heritage, but are opaque in the sense that their connection with referents is not clear. Further examples of popular gestures are found in 4.4, 6.1, 11. 3, 11.9, 17.20. 1.10 POINTING Among the gestures in sign language there are some which do not describe what they refer to but rather indicate it by pointing. Me, you, etc. (13.1, note), and parts of the body are always indicated by pointing ( see other examples in the appendix). Apart from pointing with the index finger, as in the above cases, concepts having a deictic component may involve a kind of pointing where the whole hand is held in various hand-shapes: see, for example, the signs for my, your (21.26 and note), and there (appendix). In spoken language there are so-called deictic words, but these have no special characteristics distinguishing them from other words. The spatial nature of sign language makes such a distinction possible. A signer, wishing to distinguish between several absent persons about whom he is conversing, will allot to each of them a different spatial location, setting them out around himself. Having pointed to his right to indicate an absent person A he will probably indicate B on his left. Once they are set out thus in space he will consistently continue to indicate the same points in space in order to refer to them throughout the conversation. He may, in addition, so to speak put himself into the shoes of these persons, and when quoting A, incline his whole body so as to appear to be speaking from the appropriate location. When B is similarly quoted, a different angle, literally speaking, will be presented. Some reports by signers are very much like one-man shows, with the actor impersonating a number of characters in this way. 1.11 DIRECTIONALITY A related phenomenon peculiar to sign language also depending on its spatial nature is that of DIRECTIONALITY. By this we refer to the fact that frequently the meaning of a sign may be modified by changing the direction of the movement. For example, when help (1.42) is signed with a movement toward the speaker, it means 'help me', while if the direction of the fingertips is toward the listener 'help you' is meant. I ask you, you ask me, I ask him, etc. (17. 26), are all similarly signed with the source and destination of the movement varying according to the sense. *7 Directionality thus seems to have a grammatical function and serves as a kind of inflection. Another similar phenomenon is that of pairs of signs - for antonymic or complementary concepts - which differ from one another only in the direction of the movement performed, such as lock ( 7.1) and unlock ( 7 . 3 ) , morning ( 1 . 2 7 ) and evening (1. 28), climb up (10.10) and climb down (10.11).

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26 1.12 REDUPLICATION This is a feature of a great many signs, and is indicated in the notation: the same movement is repeated twice (or more, depending on the signer's mood and temperament). Ongoing activities appear to be consistently denoted by such reduplication of signs, for example, work, quarrel, sew, converse, etc. (2.33, 4.17, 11.19 and 17.16 respectively). Note that for some signs, if the movement is repeated a sign with a quite different meaning results: see, for example, center ( 8 . 1 3 ) , which means, when repeated, cake, and wait (21. 24), which if repeated, is the sign for private. (See also 7.3, 14.37, 18.4, and notes.) For additional examples of reduplication see signs 1. 96, 2. 35, 3. 8, 4. 27, 5.15, and many others. Reduplicated signs should be distinguished from other signs which may be repeated several times in succession to indicate the plural, but with a slight change of location at each repetition: for example, tree repeated in this way denotes several trees or a forest, and the same goes for children, people, things, etc. Signs may be repeated for added emphasis, for example, repeating the sign for eat implies 'eats a lot!'. The sign for once ( 1 . 2 0 ) , repeated several times, implies 'a long time ago'. This phenomenon of reduplication should not be confused with the characteristic of repetitiveness, discussed in section 1.16. 1.13 PARA LING U1S TIC FEATURES Several features attend spoken language, such as intonation, pitch, pauses, hesitations, speech rate, etc. ; these features are usually termed PARALANGUAGE. Similar paralinguistic features are to be found in sign language. Probably the most salient of these is facial mimicry, which constantly accompanies signing. Facial expression must match the content of the message. It is no more acceptable to sign 'I am happy1 with a downcast expression than to utter the corresponding words in a mournful tone of voice (see good, 6 . 1 and happy, 21,39). One of the common mistakes made by hearing persons beginning to learn sign language is signing with more or less blank faces. Expressionless signing is no more acceptable than speaking in a monotone. The importance of mimicry in signing is brought home strikingly in observing how the faces of signers seem to light up when switching from speaking to signing! Facial expressions are obligatory for signs describing moods or emotions ( see, for example, 3. 3, 15.13, 21. 7, 21. 21, 21. 22 ), but there are also other concepts where the facial expression conveys an essential part of the information in the sign, such as lemon ( 8. 5, note), odor ( 1 9 . 1 1 ) , as discussed in the following section 1.14, and why (3. 8), discussed below. Occasionally the facial expression may reverse the meaning of a sign: thus ugly and beautiful are signed by the same hand movement, and differ only in the appropriate facial expression conveying the meaning intended (22.25 and note). For further examples see 3. 8, 3.16, 14. 53, 21.21.

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Very important features in signing with obvious grammatical functions are the negative headshake (see, for example, impossible, 15.22, disagree, 9.6, note), and the questioning facial expression ( see 3. 8, 4. 36, 6. 11, 14. 37, and notes ). Additional paralinguistie features include other head movements and body postures, and it has been claimed, not inappropriately, that one "signs with one's whole body". Sometimes the muscles are tensed, as in effort, 2.11. Temporal features are naturally also present in signing, pauses being introduced into the signing sequence, and changes occurring in the signing rate. In addition, the size, amplitude or intensity of movements may vaiy, in a manner analogous to the variations of vocal intensity. Movements of greater extension may be more emphatic than those of more limited extent. (See signs 1.13, 1.20, 4.33, 15.12, and notes.) Another manner of expressing emphasis is by a conspicuous exhalation of breath ( see signs 3. 21, 21. 6, and 23. 15 ). Some signers also emit vowel sounds during such exhalations. 1.14 COMPOUNDS Many concepts are denoted by compounds of two signs. Library is book and exchange (4.48 ); café is coffee and sit (2. 24). Compounds are frequent in spoken language, where they often have certain distinctive morphological characteristics, like intonation patterns, which are not to be found in sign language. Moreover, the order of components in sign language is to a large extent variable: for example, adult may equally be signed tall and shave or shave and tall ( 1 6 . 1 8 ) . The compound in sign language may therefore superficially give the impression of an ad hoc concatenation of signs. What distinguishes it from the latter is that it represents a relatively fixed, conventionalized way of expressing a concept, in many cases with a meaning which is not just a simple combination of the meanings of the components. Another peculiarity of sign language compounds is that a component may be BOUND; i . e . , it appears only in the compound, and, unlike components of compounds in spoken language, never in isolation. Blood, for example, is signed by two signs one of which is the sign for red, and the other, made by passing the fingers of the right hand back and forth along the left forearm, indicates the flow of blood in the veins (14. 36). Blood may thus be conceived of as 'red flow', or something of the sort, but the portrayal of this kind of flow is not used anywhere outside this compound. By contrast, in spoken language a component must appear elsewhere as an independent word, or at least as an affix with a more or less constant semantic function, for its meaning to be identifiable. In sign language the meaning of components may be transparent due to iconicity in spite of the fact that they do not appear in any other combination, which would account for the occurrence of bound components. An Important subclass of bound components consists of those which describe the shape of the object referred to by the compound. Such

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components a r e included in pear (17. 31) and rocket (3. 27), etc. Rectangles and globes are particularly frequent, for instance in the signs for chocolate bar (12.14), wash basin ( 8 . 2 , note), stone ( 8 . 3 ) , tomato ( 8. 5), and grapefruit ( 8.10), but neither the rectangles nor the globes will appear alone as independent signs. Shape components are very infrequent in English compounds, notable exceptions being cube-sugar and sheet-ice. Two words cannot be pronounced simultaneously by the same speaker, but two signs may be executed at one and the same time. This accounts for the existence of SIMULTANEOUS COMPONENTS, which is a phenomenon unique to sign language. To sign disagree one hand executes the sign for agree while the head shakes in denial. Lemon is signed by describing a globe with the hand, while making a facial expression appropriate to sour ( see 8. 5, note ). Beautiful and ugly are signed by the same hand movement, distinguished by the facial component (22.25 and note). *8 Some compounds may appear in shortened fashion, i. e . , only one of the components is signed, when the context makes the meaning clear. In some signs either of the components may be dropped, while in others only one but not the other. Similar to the former in spoken language are words like taxicab, which can be shortened either to taxi or to cab. (See also section 1.16). For examples of compounds where both components are bound see 1.90, 18.6, 19. 5, 21.6, 22.11, 22.53. Examples of a bound with an unbound component include 1.18, 1.26, 1.44, 1.97, 3. 17, 7.8, 18.10, 22.17. A large number of compounds comprising two unbound components are found in the notes to different signs. See, for instance, 1.6, 2.9, 3.15, 4 . 6 , 5 . 9 . 1.15 BLENDS Two words may sometimes be telescoped into a single word, some of the elements of the original words getting lost in the process. Wellknown examples in English are motel (motor-hotel), brunch (breakfast - lunch), and smog ( smoke - fog). Such blends are sometimes found in sign language: e. g., to discharge (2. 32 ) is a blend of work and dismiss. Signs involving directionality, discussed in section 1.11, may also be regarded as blends of verbs with Ij you, or he. Just as the special character of sign language permits of simultaneous compounds (section 1 . 1 4 ) so it allows the formation of SIMULTANEOUS BLENDS. In the sign for lawyer (11.14, note), for example, one can distinguish the sign for legal sentence, but its direction is modified: instead of moving up and down, the hand movements are oriented toward the mouth, similarly to the way they move in converse or speak (17.16, and 17.14, respectively). A common type of simultaneous blend involves terms having to do with time which are blended with number signs: for example, for three weeks the hand describes a circle as in week while the number of outstreched fingers indicates the number of weeks ( see other examples

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in Chapter 23 of the Sign-to-English section of this dictionary). Other examples of simultaneous blends are found in 15. 22, 17.44, 18. 7, 20. 3, and notes. 1.16 THE SIGNING SEQUENCE In the speech sequence words tend to be less clearly enunciated than in isolation, and the boundaries between them often become blurred. Signs are liable to undergo similar changes in the signing sequence: they run together, and sometimes a blending of two signs occurs. Unlike the permanent blends discussed above in section 1.15, these blends are shortlived. In section 1.14 simultaneous components were discussed. Similarly in the signing sequence two signs may occasionally be performed at once, not as a fixed combination. Usually it is the head and hand each of which executes a different sign: the headshake for negation is often made simultaneously with the sign of which the meaning is negated. We have, however, observed at least one signer perform different signs simultaneously, one with each hand, signing, for example, to dismiss with one hand and social worker with the other, and have been informed that this is not an isolated phenomenon. Components within an utterance will by truncated where one of these would, in spoken language, be repeated. While in English one can say he was chewing chewing-gum, the black blackboard, or to mail mail, in sign language this sort of repetition is avoided. For example, one of the ways of signing waiter is bowtie and serve, but the same two components are also used to sign waiter serves. The bowtie alone may sometimes actually be used to indicate the waiter by transfer of meaning (pars pro toto) but the case is different with sit in a café, which is signed sit and coffee, where neither of these components on its own signifies café (10.26 and note). One may speculate whether in spoken language compounds are perceived as more of a unit than in sign language, and therefore one morpheme cannot do service both within the compound and as an independent word: for this reason the compounds in spoken language are perhaps not as readily truncated. In sign language, on the other hand, where the fusion would seem to be weaker, the superfluous element may be dropped. This is in line with the observation made in section 1.14 that compounds are not morphologically distinct from arbitrary sign sequences, and that order of components is free. Whatever the explanation for truncating compounds, the reason for it is undoubtedly not due to any fastidiousness concerning repetition in sign language. Quite the contrary is the case. Signers are often apt to repeat signs and phrases, as is illustrated in the following excerpt from a typical sign monologue (dashes between two words indicate that these are represented by one sign): " . . . week money loan debt loan loan much. First-of-month already pay-all that' s-it. Week coming membership-fee cashdown exactly! (Hey hey look a t - m e ! ) . Elections soon before-

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30 long. Five-months five soon five-months elections new. Who membership-fee no? . . . " This repetitiveness may reflect the signer's accomodating himself to the capacity of his audience by introducing redundancy into his presentation, or reflect communication checking, or may perhaps be an analogy of pauses and other hesitation phenomena in speech. In addition to repetitiveness, the preceding quotation also illustrates the telegraphic style of sign language. The grammatical cement one expects to find in spoken language is largely lacking; there are no inflections (see, however, section 1.11) - this fact is clearly brought out in the English transcription - and there is a relative dearth of function words. Sign order is significantly different from the c o r r e sponding English or Hebrew word order. Another characteristic not apparent in the transcript is the greater flexibility of sign order. We are barely touching here on the complex problem of sign language grammar, to which, however, we cannot do justice within the framework of this cursory survey. *9 Signers often insert pantomime into their conversation, both in instances where it is difficult to express something by signing, and in order to enhance the clarity and vividness of the communication. In distinction from signs, which are conventionalized, pantomimes of this kind are unique on-the-spot inventions, non-recurring and highly individual. They are, as it were, "quotations from reality". Of course spoken language users may also have recourse to pantomime occasionally during their conversation, but it should not surprise us that in signing it is much more frequent, as no change in the medium is involved. A more analogous phenomenon in spoken language to the use of pantomime by signers would be the imitation of sounds. It should be recognized that pantomime may be regarded as one end of a continuum which extends all the way from free, spontaneous imitation to fixed, conventionalized, iconic signs. Just as the boundary between fixed, iconic signs and covariant ones cannot be rigidly drawn (see section 1. 3 ), it may often be difficult to decide whether a sign is a covariant sign or an on-the-spot invention. 1.17 GROWTH OF SIGN LANGUAGE The lexicon of the Israeli sign language is continually expanding. Sign language, like spoken language, is capable of meeting the everincreasing demand of new concepts which have to be named. To do so, new compounds become accepted and existing signs are made to serve new meanings by transfer of meaning (see section 1 . 5 ) . Furthermore, the deaf are constantly coining new signs at a rate probably far greater than in spoken language. This may be easier than coining new words in spoken language, because of the possibility of finding iconic signs. In fact, the introduction of pantomime into a conversation in sign language may provide the first step toward its later abbreviation and conventionalization into a sign. In those communities of deaf persons where finger spelling is used,

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names for new concepts are liable to be finger-spelled or to involve some blend of signing with finger-spelling (the same applies to cued speech systems). Since the overall impression of finger-spelling is not drastically different visually from signing, such wholly or partly spelled words merge well into the signing sequence. Less well-educated signers may learn and use such signs without being at all aware of the relation of these signs with spoken or spelled language. In a similar manner, such words may be imported from one sign language to another (see section 1. 9 above). In the same way that two spoken languages in contact influence each other, so does spoken language influence sign language, although the reverse is of course most unlikely, except in the dialect of spoken language used by deaf signers. While direct borrowing of words from spoken language is not possible except in the case of finger-spelling or cued speech systems, there is a possibility for loan translations. For instance, the sign for social worker ( 2 . 2 ) resembles the communist salute. Apparently a social worker is a socialist for the Israeli signer - a connection which almost certainly has been established through contact with the Hebrew language (which, like English, uses a similar word for 'socialist' and 'social'). For additional examples, see also notes to signs 3. 33, 6.15, 11.16, 20.3, 23.19. For an example related to written language, see 11. 5. Just as gestures may intrude into conversations in spoken language, so some of the deaf intersperse their signing with occasional speech sounds. There are some deaf who speak and sign simultaneously, and certain elements of the accompanying speech may be imitated even by those who are themselves quite ignorant of any spoken language, with the result that they accompany some signs with a sound which is a remnant of the (simultaneously spoken) word. An example of this is / f a / with which the sign for already (kvar in Hebrew) ( 1 . 6 4 ) , is often accompanied. In some cases sign language takes over visual emblems which are commonly used in the wider community; for instance, the flag of Lebanon bears a cedar and the sign for Lebanon ( 3 . 1 3 ) portrays this. A similar case is Christian (4. 2), denoted by the sign of a cross. See also 12.1, 14. 34, 15. 7. New coinages, construction of compounds ( see section 1.14), borrowings from other languages, loan translations from spoken language and adoption of popular gestures and visual emblems give the community of signers abundant opportunity to expand their language to meet t! eir increasing needs. If sign language has nevertheless a poor vocabulary, as has been claimed - notably by those opposed to its use in education - this is not the result of any inherent limitation of the medium, but rather due to the modest demands of its users. 2. 0 COMPILING THE DICTIONARY 2 . 1 INFORMANTS The first problem confronting us was the selection of suitable inform-

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ants. In addition to fluency in sign language and adequate command of the spoken language, some degree of sophistication is obviously required, as the unsophisticated informant, when asked to give the sign equivalent of a given word is liable to come up with some paraphrase made up especially for the occasion. Apparently a request "how do you translate X into sign language?" is construed by him as "how would you go about it if you had to express X by signing?" Unless the investigator makes this distinction clear he may be unable to judge whether the information received reflects more or less established usage or the informant's own ad hoc solution, and extensive cross-checking of the informant's responses will be necessary. In the final preparation of this dictionary we were lucky in having as our main informant a hearing signer of considerable sophistication, the son of deafmute parents, who had worked for many years with the deaf, especially in the capacity of interpreter. 2. 2 VARIATIONS IN SIGNING Another problem encountered was deciding on the exact notation of the sign. There exist many minor variations in the manner of signing, just as there are individual variations in the pronunciation of spoken language. Even the same informant would perform the same sign with small variations on different occasions, and when his attention was drawn to such discrepancies he would claim that both ways were equally acceptable. It should therefore be borne in mind that there is much latitude in the performance of signs, just as there is in the way a given word may be pronounced in a speech sequence, especially in informal speech. The dictionaries of spoken language usually adopt the pronunciation regarded as the 'standard' one. In sign language where there is no parallel to King's English the investigator has to act as self-appointed king and decide on the form of the sign to be fixed in the notation. In some cases variants of the same sign have been included in'the dictionary. Even in a country as small as Israel a number of different local dialects of sign language exist. As our main informant was from the Tel Aviv area, when we had alternative information on a sign prevalent in the Jerusalem area the Tel Aviv dialect was preferred; however, it was not always possible to distinguish between individual variations and extant coexisting forms of the same sign. Another source of variation is suggested by our strong impression that the form of signs changes at a rate faster than that of words in spoken language. (One such example of a change is given in the two signs for coffee, 2.24 and 10.26, and notes.) Even since the time of completing the notation certain changes have come to our attention which have already taken place. The problem of variation should be distinguished from that of covariance, which is discussed in section 1.3.

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2. 3 RECORDING OF SIGNS The vocabulary size of different sign languages has been variously estimated at anywhere between 1000 and 4000 signs - far less than in spoken language. It was therefore preferred not to use a dictionary of spoken language as a guide to exploring the stock of existing signs, and our approach was rather to use basic word lists in use in Israel. Several issues of a Hebrew newspaper in simple language for new immigrants were also scanned to find additional words useful for conversing about current events. The informant was asked for sign equivalents for terms from all the above sources. The investigator was not limited to these signs only, but when working on lists of prepared words, other words would occur either to the investigator or the informant, and signs for these were also included in the lexicon. There are doubtless many more signs in the Israel sign language possibly even widely used ones - which have been left out; certainly no claim is made for exhaustiveness. A number of signs in the dictionary are imitations, drawing of outlines, or pointing signs ( see section 1. 3 ). These illustrate exact ways of imitation and the manner in which meaning is transferred. It was not found expedient to include all such signs, and some additional examples have been relegated to the appendix. Because of their special character a few examples of names of towns and countries have been included in the dictionary ( see section 1.7). In order to fix the sign in notation the investigator ( E . C.) asked the informant to perform a sign repeatedly. He did this, at first supplying an imaginary context, and then attempting to perform the sign in isolation, repeating it until the investigator learnt to perform it correctly herself. Subsequently each sign, as learnt, was carefully analyzed by means of the notation, and recorded. Sign performance was then read back from the notation and rechecked with the informant, and later counterchecked by another person with one other informant. Obviously there was a certain artificiality in the situation of the informant in that he was eventually required to perform in isolation, for the purpose of recording it, a sign which would normally be embedded in a sequence or in the context of a conversation. The question of sign boundaries was not easily resolved, and establishing the initial and final positions of signs in the notation was especially problematic in the case of signs involving contacts between the hands or with body parts. Often the decision as to what to regard as the initial position of a sign was perforce rather arbitrary. The forms described in the notation must in consequence be regarded as somewhat idealized versions ( see also section 2.2). 2.4 THE BASES'OF SIGNS The task of our informant was also to provide information as to the base of the sign ( see section 1. 5 above ). In the absence of any written

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records, and because of the difficulty of communication with deafmute informants, this can often only be arrived at by more or less plausible conjecture. In our attempts to obtain information from native signers it became clear that they, like ourselves, also engage in ex post facto rationalizations when attempting to explain signs which are no longer clearly transparent. Ultimately the investigator has to fall back on his own judgement as to which explanations are at least plausible, if not valid beyond doubt, and which are fanciful. Since no independent confirmation could be obtained, and since plausibility is, after all, a matter of degree, we have not refrained from proposing as bases explanations which are conjectural. Only the more speculative explanations have been relegated to the notes. It sometimes happens, especially in the case of abstract concepts, that the base of a sign seems intuitively 'obvious1, yet it may be extremely difficult to formulate it in words. An example of this difficulty is found in the sign for or (2.38), which is performed by holding the hands in fists, palms in contact, at about the waist level, with the back of one hand parallel to the ground. The hands are turned so that the back of the other hand now faces the ground. It is clearly not very satisfactory to formulate - as we did - the base of this a s 'two sides of a thing'. A slightly different problem is exemplified by the case of dead (1. 22), which is signed by holding the forearm horizontally forward, with the palm of the flat hand facing up. The hand is then turned palm down. This sign is invariably judged to be highly iconic, but it clearly evokes considerably different images in different persons, and widely differing explanations have been proposed a s to its base. Apart from our formulation, 'covered over', others may be equally justified. In cases of this kind we have often had, therefore, to put complementary or alternative explanations in the notes to signs. Further discussion on the bases of signs is given in section 3.2. 2(d). 3. 0 USING THE DICTIONARY The dictionary proper consists of two main parts: a Sign-to-English section (Part IE), and an English-to Sign section (Part IV). Their contents and arrangement are discussed below. 3.1 VARIATIONS IN SIGNING Standardized forms for sign performance have been given in the notation in the dictionary, but variations on these frequently exist (see section 2.2 ), and the forms described must be regarded as somewhat idealized versions. Signs performed by one hand only have uniformly been given in notation for the right hand, but they may equally be executed by the left hand. It should also be pointed out that in cases where a symmetrical movement is made by both hands signers may sometimes, in the course of conversation and for the sake of convenience, use one hand only.

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3.2 ARRANGEMENT OF THE SIGN-TO-ENGLISH SECTION ( P A R T III) 3.2.1 Grouping of material in chapters Signs are arranged in chapters according to two major subdivisions: ( a ) by HANDSHAPE i. e., by the type of configuration of the right hand in the initial position in the notation. (The terms for the different handshapes are illustrated in Part II, Figures 36 to 49, pp. 98-106.) The chapters belonging to this group are: Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter

12345678910 11 12 13 14

FLAT HAND ( Figure 36) FIST (Figure 37) SPREAD HAND (Figure 38) EXTENDED INDEX FINGER (Figure 39) SPOON (Figure 40) BUNCHED FINGERS ( Figure 41) PAYING HAND ( Figure 42) CLAW ( Figure 43) TWO FINGERS EXTENDED ( Figure 44) TWO FINGERS SPREAD ( Figure 45)

This chapter contains signs involving infrequently appearing handshapes. ( b ) by PARTICIPATING BODY-PARTS (OTHER THAN THE HANDS OR ARMS) i. e . , according to the participation in the sign of other limbs - especially in cases where contacts or near-contacts with these are involved. The chapters belonging to this group are: Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter

15 16 17 18 19 20 21 22

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HEAD FACE MOUTH FOREHEAD NOSE NECK AND CHIN CHEST MISCELLANEOUS This chapter contains signs involving participation of or contacts with more than one body-part, or with other body-parts. Chapter 23 - NUMBERS AND BLENDS WITH NUMBERS

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36 The final chapter of the Sign-to-English section is devoted to numbers or blends (see section 1.15) of a number with a temporal concept. This chapter contains a special introduction on the signing of numbers and number blends. Within each of the major subdivisions chapters are arranged approximately according to size, in descending order. Within chapters the arrangement is generally from simpler to more complex signs. It should be clear from the above that a sign such as that for busy, performed by two fists, one hitting the other, executed in the frontal position, with no specific body contact or participation of other limbs, will be found in the first group of fourteen chapters detailed under ( a ) above. (It is, in fact, in Chapter 2 . ) On the other hand, a sign such as that for flower, made by bunched fingers opening out by the tip of the nose, will be found in the second group of chapters listed under ( b ) above. (This sign is in Chapter 19.) 3. 2. 2 Form of entries Each entry is identified by an INDEX NUMBER. Chapter numbers appear on every page of the notation in the top right-hand corner. Within chapters each sign is assigned a running number, which appears above the appropriate block of notation columns, to its left. The complete index number of a sign, then, consists of both these numbers, with the chapter specified first. Thus, for example, the sign for day, indexed 4. 29, is the twenty-ninth sign entry in Chapter 4. Entries in the Sign-to-English section consist of the following: on the right-hand page (a) THE SIGN in Eshkol-Wachmann movement notation (explained in detail in Part II and summarized in Figure 50, p. 126); (b) THE INDEX NUMBER, as described above; on the facing page ( c ) THE TRANSLATION: the translation( s ) of the sign into English, following the sign's index number, in block capitals; e. g., 7. 9 STRIKE ( v . , n . , labor) 9. 9 LIE (v., n. ) (Words in lower case, in parentheses - such as 'labor' in the example - merely serve to delimit the meanings of the translations given.) Abbreviations used are (v.), (n.), (adj.), (v. intrans.), and (v. trans.) for verb, noun, adjective, intransitive and transitive verbs, respectively (but see section 1. 8 on parts of speech in sign language itself). In general, where more than one translation is given, that appearing first is the closest to the base ( see (d) below); e. g., 2.15 ROW, OARS, ROWBOAT, YARKON RIVER. The base of this sign is 'to row'.

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37

(d) THE BASE: the base of the sign - i. e . , what it portrays directly ( see section 1. 5) - is written beneath the translation, in small print; e . g . , 15. 5 COW horns ( This means that the sign for 'cow' is made by portraying its horns. ) Where the base of a sign is uncertain this is indicated by a questionmark written in parentheses in the space for the base; e. g., 2.30 UNIVERSITY (?) Where the sign directly indicates its meaning ( i. e., without transfer of meaning - see section 1.5 ), this space is left blank; e. g., see the entries for write ( 11.15 ), stand (10.2), bottle (14.46), button (21.29). Where the sign is a popular gesture and the relation of this to its meaning is unclear, this is indicated in the space for the base; e. g., 6.4 WAIT (popular gesture) Where the sign seems to be a blend ( see section 1.15) "(blend)" is written in the space for the base and the blend explained in the notes ( see (f ) below). Where the sign is a compound the bases of the two components of the compound are given, separated by a plus sign, and the entry will take one of several forms, explained in detail in section 3.2. 3 below. ( e ) THE VERBAL DESCRIPTION: a brief verbal description of the sign. This description, which is intended merely as a rough guide, is rarely sufficient to enable accurate reproduction of the sign. A full explanation of the principles underlying the verbal descriptions is given in section 3.2.4 below. ( f ) THE NOTES: additional notes regarding usage, paralinguistic features ( see section 1.13 ), the origin of signs, compounds, cross references to related signs, etc., are given after the verbal description. 3 . 2 . 3 Compound signs ( a ) When a concept is described by two signs, each of which has an identifiable meaning, two bases will be given, separated by a plus sign; e. g., 3.10 TELEVISION movie + dials Brought to you by | provisional account Unauthenticated Download Date | 12/30/19 5:25 PM

38

In these cases the notation for each component is separated by a heavy line, and the component parts are labelled a and b, written on the left, above the notation blocks. In the verbal description (see 3.2.4 below) that part referring to h, e. g., 'dials' in our example, is given in a second paragraph, beginning with the word 'Then . . . ' . (b) Where one of the components is independently used and given elsewhere in the dictionary in notation, the entry appears as follows; e.g., 3.17 SNOW falling snow

+ white. 16.9

(The sign described here in the notation is only that component whose base is 'falling snow', while the other component to be signed is white, the notation for which is given in Chapter 16, entry 9.) ( c ) In some cases a component may be optionally omitted (see section 1.14) and will then be written enclosed in parentheses; e. g., 1.26 BED

(+ sleep, 15.1)

('bed' is given here in notation, whereas the sign for sleep, the optionally omitted component, is found in Chapter 15, entry 1. The fact that no base is suggested indicates that there is no transfer of meaning in making this part of the sign.) (d) Components whose bases are the shapes of the objects referred to (see section 1.14) are written in square brackets; e. g., 8.5 TOMATO [ round shape]

+ red, 17.12

(e) Compounds comprising two components each of which is independently listed and given in the notation appear only in the notes to entries: e. g., the sign for refrigerator is referred to in the notes to entry 2. 9 (the sign for cold) in the form refrigerator -

+ electric, 10.21

Thus, to sign refrigerator, the sign for cold is made - the notation for which is given in entry 2. 9 - followed by the sign for electric, the notation for which is given in entry 10.21. In the latter entry the reference to refrigerator usually reads: This sign is also a component in refrigerator, 2. 9 (note). It should be noted that the order of components in compound signs is usually optional, but this fact is not indicated in the dictionary.

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39

3 . 2 . 4 Verbal descriptions of signs The verbal description attempts to give a general idea of the sign, but does not aim at great precision, and uses terminology not identical with that found in Part II. Its purpose is mainly to help orient the new reader and provide him with at least a partial means of checking his performance from the notation. Unless stated otherwise, signs are assumed to be performed in front of the center of the upper chest. Where the hand is not specified (in signs involving one hand only) it is understood to be the right hand - although, as it has been pointed out, the hands may optionally be exchanged. In chapters 1-13, which are grouped according to the hand-shape of the right hand, only those hand-shapes are named which differ from that holding throughout the chapter. From chapter 14 onwards, all hand-shapes are named. The hand-shapes are illustrated in Figures 36-49 of Part E. Usually the initial forearm position is given, but upper arm positions are given only when the limb is raised horizontally, on a level with the shoulder. If the hand does not continue in a straight line with the forearm, this is stated in the description. Directions and heights of limbs: the 'heights' specified precisely are vertically down, horizontal, vertically up, and the mid-points between these. The directions parallel those on a weathervane, as indicated in the table on page 40, which gives the verbal descriptions used for the different positions. The direction in which the palms face is not given as precisely as in the notation ( see the section on Rotatory States, Part n, 4. 0). Approximations of the hands' or forearms' general orientations are given by the terms palm up (rotatory state (6) for the right hand and (2 ) for the left hand), palm down (rotatory states (2) and (6)), little-finger side up ((4) for both hands), thumb-side up ((0) for both hands), palm forward, or palm facing body. As the hands are assumed to continue in the same positions as the forearms unless otherwise stated specifically, it must be borne in mind that these descriptions do not imply the height of a limb - whether it is horizontal or diagonally up or down. Contacts between the hands or hands and limbs are mentioned in the verbal description. Movements: unlike the notation, the verbal descriptions wherever possible indicate the general nature of a movement or its result. (In many cases the reader will not be able to perform the movement without careful study of the appropriate sections of Part II.) The only abbreviations used are RH and R for right hand and right when a limb is referred to, or similarly, LH and L for the left hand or left. When directions are referred to they are spelt out in full.

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40 Correspondence between verbal descriptions of directions, and their notation. vertically/OViiagonally down/l\horizontally/2\diagonally up/3\vertically up/4\ down \oJ forward* ^0/ forward \oj forward** \oj or upright \0/ ( The direction 'forward' is analogous with 'due north' ) diagonally down/l\ horizontally/2\diagonally up/3\ right \lj right \lj right [lj ( The direction 'right' is analogous with 'north-east' ) diagonally down/l\horlzontally/2\diagonally up/3\ left \7/ left \7/ left \l) ( The direction 'left' is analogous with 'north-west' ) diagonally down/l\horizontally/2\ diagonally up/3\ due right \2j due right \2/ due right \2j ( The direction 'due right' is analogous with 'due east' ) diagonally down/l\horizontally/2\diagonally up/3\ due left \6/ due left \6/ due left \6j ( The direction 'due left' is analogous with 'due west' ) * ( i . e . , the height midway between vertically down and horizontal)

due left

** ( i . e . , the height midway between horizontal and vertically up)

left

forward

right

due right

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3. 3 ARRANGEMENT OF THE ENGLISH-TO-SIGN SECTION (PART IV) 3 . 3 . 1 Form of entries This section is arranged alphabetically and consists of the following types of entries: ( a ) all the signs described in the notation in the Sign-to-English section. These entries consist of one index number, or more where variant forms of signing the same concept have also been recorded in notation: e. g., afraid agree

21.9 9.6, 10.3, 14.40

(b) signs not given in full notation but merely referred to in the notes to the signs; e. g., café refrigerator evidence

2.24 (note), 10.26 (note) 2. 9 (note) 1.94, 14.17 (note)

(In the last example, a sign for evidence is given in notation in entry 1. 94, but in entry 14.17 it is only discussed in the notes.) ( c ) synonyms and near-synonyms for items found in the Sign-toEnglish section. These are included to help the reader locate an entry, but the Sign-to-English section should be consulted for all the information on usage and performance of the sign. Typical entries are, e. g., America, U. S. A. dance, party

16.2 14.19

The form of the entries shows that in the translations of these signs only the words U. S. A., and party, respectively, appear. The word given first is in both cases a synonym. Whenever entries appear thus, separated by a comma and without parentheses, a synonym or nearsynonym is involved. When, on the other hand, another concept is given in parentheses following the first entry, e. g., date (fruit) 14.42 (note), the purpose of the latter is simply to delimit the meaning of the former term. (d) signs described briefly in the appendix (see 3.3.2 below); e. g., arm beard

appendix appendix

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3. 3. 2 The appendix A short appendix follows the alphabetically arranged section described in 3. 3.1. It discusses in brief a few additional signs and groups of signs not given in notation, which are made by ( a ) pointing, touching or fingering something; (b) drawing an outline of something; ( c ) imitating an action.

NOTES *1 This and the following examples are taken from the Sign-to-English section of the dictionary; in the index numbers given in parentheses the number before the period indicates the chapter and the one after the period indicates the running number within the chapter. See section 3 for a full explanation. *2 It is not clear to what extent signers are aware of the iconicity of their signs. The role of iconicity would obviously differ from sign to sign, and probably also according to different contexts, and from signer to signer. Awareness of iconicity may likewise differ in the processes of encoding and decoding. *3 However, one may sign house without attempting to describe even approximately its size, in which case the signer will use whatever size happens to be convenient for his current performance. *4 While being aware of the many problems attendant on the use of this term, in the present context we do not find it has led to confusion. *5 See also 12. 19, 17. 27, 20. 8 (note). *6 This possibility is especially likely in Israel, whose population is of very diverse origin. *7 See also 22.47, and 18.3. *8 In fact, one way of viewing paralinguistic features is a s simultaneous components (see section 1.13 ). Note too, that many signs for a single concept include several physical components each of which represents an aspect of the concept which may, in principle, be distinguished. Thus, for example, in learn (18.11) the bunched fingers suggest 'putting something inside' while the location, near the forehead, suggests 'the mind'; in the sign for ride (a horse), 10.20, one hand seems to represent the rider and the other the horse. *9 See "The Grammar of Sign Language", I.M. Schlesinger and Lila Namir, in: Current Trends in the Study of Sign Languages of the Deaf, Eds. Schlesinger and Namir, Forthcoming.

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PART II THE ESHKOL-WACHMANN MOVEMENT NOTATION SYSTEM

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This chapter was specially written for the dictionary by Noa Eshkol and comprises a partial explanation of the system, with adaptations for the Sign Language of the Deaf.

The figures reproduced here a r e by permission of the Movement Notation Society, Israel, who are holders of the copyright.

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1. 0 THE MANUSCRIPT PAGE

For the purpose of notation the positions and movements of the limbs and body parts are analysed as if they were positions and movements of the longitudinal axes of these limbs and body parts (i. e . , of straight lines, regardless of their real shapes). This is illustrated in Figure 1. The manuscript page, also illustrated in the figure, allots a group of horizontal spaces to the division of the body into such a jointed system of axes. Each space on the page is allotted to one particular part of the body. In the notation of an action several columns of such spaces may be used. 1.1 REPRESENTATION OF THE LIMBS The movements in the sign language of the deaf are movements of the upper limbs*l - especially the hands, fingers, forearms and upper arms, although the head, chest, etc., a r e often also involved in making a sign. The manuscript page used in the present work is thus adapted to accomodate only the arms, hands and fingers, with an extra space to be used for any additional relevant body parts involved. The spaces are divided into two main groups, the upper group representing the left arm and the lower group the right arm. Between these two groups is the extra space for additional parts or surfaces, appropriately labelled in each case. The abbreviations of names of body parts given in the figure are the standard abbreviations used throughout the work. Note that the manuscript page is to be read from the bottom upward. The reason for this will become clear from Section 2. 0. 1. 2 REPRESENTATION OF TIME In movement notation time is represented by the lateral dimension, progressing from left to right on the manuscript page, (i. e . , by the division of the page into blocks of columns). A single column for a given movement or sign represents a time unit. In any sign of more than one time unit (i. e . , a sign written over more than one column) the first column represents the starting position, and contains no movement symbols. (In the dictionary, a number of signs are given as positions only, having a single column of notation.) All movements written in the same column take place at the same time, and may be regarded as 'chords' of movement. The duration of an individual movement is expressed by the number of time units, closed by a bar line. Thus a movement of one time unit's

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47

H

5

LITTLE FINGER

4

RING

3

MIDDLE

ft.2 u -J

INDEX

1

THUMB

pa.

PALM

f.a.

FOREARM

u.a.

UPPER ARM

Other Limbs

fI o OS

Fig. lb

5 4 3 2

1 pa. fa. u.a

Fig. l a

Figure 1. ( a ) Arrangement of the manuscript page used in movement notation. The limbs and body parts named in the horizontal spaces are abbreviated as shown on the left. Note that the notation is read from the bottom up. The right hand, usually dominant in right-handed signers, appears below the left hand (see section 2. 0). (b) Longitudinal axes of limbs and body parts. Their positions and movements are analysed a s if they were straight lines rather than according to their actual shapes. The black lines represent the axes, and the dots, joints (or separations for the purpose of movement analysis) between body parts.

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48

Figure 2. 'LIGHT1 and 'HEAVY1 limbs and body parts. Movement of the pelvis alters the torso's position in space, as well as the positions of the arms and head, which are lighter in relation to it. The arrows indicate additional movements performed by the neck and forearm. The neck and forearm are 'heavier' in relation to the head and hand respectively, altering their positions in space beyond the change caused by movement of the pelvis.

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49

duration could be written, e. g.,

and the same movement, occurring over two time units,

This law applies to all movement and auxiliary movement symbols. In the present work the actual duration of movements is unspecified; only one order of time is given - that is, the sequential order of occurrence of movements, and not their rhythmic occurrence. In actual communication different individuals, of course, would give different rhythmic values to the same signs. Conventions concerning the notation of dynamic features of signs are given in Section 11.2. 2.0 'LIGHT' AND 'HEAVY' LIMBS Within the above system of jointed axes (representing the limbs), a hierarchy of connections is distinguished, which relates the limbs to one another according to whether they 'carry' other limbs or are themselves 'carried' in their movements. An example will illustrate the meaning of this; in the chain of adjacent limbs UPPER ARM FOREARM - HAND, any movement of the upper arm changes the place in space of the other parts, even if these parts perform no active movements relative to each other. Si such a case recording the movement of the upper arm only (as it is the 'heaviest' limb) is sufficient to enable reproduction of the entire change of position. Any ADDED movement of the forearm in relation to the upper arm, would, of course, require additional notation, since the path of the hand in space would be further modified. Consider, for example, the movement of the forefinger in the action of knocking ash off a cigarette; this is not accompanied by any modifying movement of the arm. Compare such a movement with that of raising an outstretched arm as though to touch the ceiling of a room: although the fingers are moved passively to a new place in space as the arm rises, they perform no independent movement of their own, and indeed no such movement would contribute anything to achieving the 'aim' of touching the ceiling. In the former case - knocking off ash - movement of the fingers would be given, whereas in the latter, the upper arm (the heavier limb) performs the active movement which carries the forearm, hand, and fingers (the lighter limbs) to a new location. As the change in space of the rest of the limbs is an inevitable result of the upper arm's movement, only this movement need be written in the notation. The position of a heavier limb can obviously impose restrictions on the possible positions that a lighter may take. If, for instance,

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( a ) Movement of the arm in the sphere centering round the shoulder. The fingertips move on the sphere's surface. Note the shape of the path of movement they trace from A to B (the thick black line). (b) The movement in (a) is represented schematically in a sphere divided by lines of longitude and latitude. Note the surfaces produced by the arm as it moves within the sphere, as well as the path from A to B on the surface. The numbers in parentheses show how these points, A and B, are indicated in the notation (see section 3 . 2 ) . Other possible paths and surfaces of movement are also illustrated.

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the right upper arm is stretched straight forward, horizontally, the forearm cannot at the same time be held bent horizontally directly to the right, although this can be done by the hand, bent at the wrist. To sum up: a limb which carries another is referred to as 'heavy' in relation to the latter (which is termed 'light' relative to the limb carrying it). Usually the proximal parts of the upper body are the heavier and the distal, the lighter. On the manuscript page used in this book the hierarchy of heavier and lighter limbs is reflected in the order of the parts of the body in each of the main groups (righthand and lefthand limbs): the heaviest part of the arm is the upper arm, and this is given the lowest space in the group; the lightest are the fingers, and they occupy the top spaces. Since the notation is read from the bottom upward it is not inappropriate that the right arm (which is dominant in most signs - unless the signer happens to be left-handed!) should appear below the left arm. 3. 0 THE SYSTEM OF REFERENCE 3 . 1 MOVEMENT WITHIN A SPHERE, AND THE CONSTRUCTION OF THE SYSTEM OF REFERENCE The movements of a single limb about a 'fixed' joint - i. e . , a connection with an adjacent, nonmoving limb - produce surfaces or paths within an imaginaiy sphere. The extremity of the limb moves on the surface of this sphere, whose center is the limb's joint (see Figure 3). The possible positions the limb may take relative to the joint with the adjacent limb thus correspond to radial lines from the sphere's center to its outer surface. The definition and measurement of positions and movements within this spherical system is enabled by a spatial division of the sphere according to two complementary systems (illustrated in Figure 4, a, b, and c ) : a grid of coordinates on the surface of the sphere (Figure 4a), and a system of radial lines connecting the center of the sphere and the points of the coordinate grid ( Figure 4, b and c. ). Thus, just like the geographical globe the coordinate grid dividing the surface of the sphere is constructed from an intersecting network of 'lines of longitude' (vertical circles) and 'lines of latitude' (horizontal circles). The intersections of these lines of longitude and latitude are the points of the coordinate grid. The axis connecting the upper and lower poles is referred to as the VERTICAL AXIS OF THE SYSTEM OF REFERENCE; it always remains in the vertical position. The equatorial plane is termed THE HORIZONTAL PLANE OF THE SYSTEM OF REFERENCE and it is always horizontally parallel to the ground. *2 3.2 THE COORDINATE GRID AND THE POSITIONS A number of different directions are marked off on the horizontal plane of the system of reference, dividing it into segments of equal

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Figure 4. The spherical system of reference. Note that in analysing movement, each limb (or body part whose movement can be distinguished from that of other parts) is related to such a system of reference. The limb's joint is at the center of the sphere, its length corresponds to the radial lines and its tip, or joint with an adjacent, lighter limb, reaches the surface of the sphere. ( a ) The coordinate grid on the sphere's surface. Note the vertical axis through x, with VERTICAL ZERO at the lower pole, and the horizontal axis through y, showing HORIZONTAL ZERO at center front of the drawing. These terms are explained in section 3.2. ( b ) Radial lines connecting the center of the sphere (which is the joint of a limb) with different positions on its surface. ( c ) The coordinate grid on the sphere's surface, related by radial lines to its center. The numerals in parentheses show how the defined points of intersection between radial lines and lines of latitude or longitude are written in the notation. The lower number refers to the direction on the horizontal plane (shaded area) and the upper number refers to the height on the vertical plane. See text, section 3.2. (Note that in this and the following figures, unlike in a mirror reflection, the right part of the figure corresponds with the left side of the body.)

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size. A vertical plane is set up at the boundaries of each segment coinciding with each direction. In principle there may be any number of directions distinguished - 45°, as is the case in the present work, 30°, 15°, 5 ° - any size which is useful. The larger the number of vertical planes (or directions) defined, the smaller will be the segments bounded by them. The vertical planes are likewise divided into a number of equal-sized parts - usually the same number of parts as in the horizontal plane (see Figure 5). These divisions will determine the number of radial lines connecting the center of the sphere with the points of the coordinate grid ( i . e . , how many different positions are definable on the sphere's surface). In the system used in the present work (segments of 4 5 ° ) both the 'lines of latitude' and of 'longitude' are divided into eight equal-sized parts. Four vertical circles ('lines of longitude') can be drawn through the eight divisions on the horizontal plane. Three 'lines of latitude' and the upper and lower poles of the vertical axis mark off, where they intersect with the 'lines of longitude', a total of twenty-six points on the coordinate grid. Thus twenty-six different positions ( i . e . , directions) of a limb relative to a fixed joint may be defined. Figure 4c shows how each of these points is written in the notation. The way in which they are labelled is explained below. In order to identify the positions, first of all one direction on the horizontal plane is established as HORIZONTAL ZERO. This is written " ( • } In the present work this direction is taken as that directly forward from the performer, facing the observer ( see Figure 6 ). The other seven directions and the vertical planes which coincide with them are accordingly numbered ^ ^ , , etc., through , counting clockwise - looking down from above at the horizontal plane. To express the position of a limb within the sphere of reference we require two numbers, one indicating its longitude (the lower number in the notation), and the other, its latitude (the upper number in the notation - which is explained below). Note that by 'longitude' we refer to the direction as it would be projected on the horizontal plane, of the limb's longitudinal axis, and by latitude, to the height on the vertical plane, of the limb's extremity. In the notation the number indicating the height on the vertical plane is written directly above the number indicating the direction on the horizontal plane, and both are enclosed in parentheses, e. g . , ^ ^ . (See Figure 4, c . ) VERTICAL ZERO is the lower pole of the vertical axis of the system of reference. The height of a point is determined by counting the number of divisions on the vertical plane. These divisions, or 'heights', are counted positively, from the vertical zero, in rising order; thus the upper pole is . In the sign language of the deaf most of the directions involved are in that part of the system of reference which is fully visible to the frontal observer; i. e . , lines of longitude - directly in front of

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54

» Fig. 5a

Fig. 5b

Fig. 5c

Figure 5. Subdivision of the horizontal and vertical planes. ( a ) The horizontal and vertical planes are divided into four segments each, with a 90° angle. Only six positions on the surface of the sphere can be defined. (b) The planes are each divided into eight segments, with an angle of 45°. This is the scale used in the present work, and gives rise to twenty-six definable points on the sphere's surface (see Figure 4a). ( c ) A more finely divided system in which each plane comprises twelve segments, with an angle of 30°.

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the signer, ^

or

- to his right, or

heights involved are usually ^

and ^

to his left; the

- vertically down, ^ j , ^

- hori-

zontal, [ J , and \ } - vertically up. Sometimes in the analysis of movements only one component can be defined clearly. This is quite a frequent occurrence in the sign language of the deaf. In these cases an incomplete - and therefore somewhat ambiguous - form of notation is used, the unspecified component being replaced by a dash. The notation { ^ j , for example, denotes a position in an unspecified vertical plane, at the height of three units from position (^J. On the other hand, denotes a position in the vertical plane (i. e . , the direction) three, but at an unspecified height from position (^j. Note that in the present work these partially defined positions are always to be interpreted as occurring in the part of the system visible to a frontal observer, and within the range of the commonly-used directions and heights listed above. Figure 7 illustrates the notation of several positions on the coordinate grid. For example, the notation of position D is written as ^ . This means a position on the vertical plane six, two units counting upwards from vertical zero. Assuming the left arm is referred to, the notation means that this limb is stretched out horizontally, due left. In the notation of a sign if no further position is defined for the forearm or hand, the whole arm is thus extended to the left. Figure 8 illustrates the recording in notation of a whole posture of the upper body. 3. 3 THE INDIVIDUAL SYSTEMS OF REFERENCE The discussion of the system of reference so far has been molecular, relating to a single limb. Movements of the whole body are, of course, aggregates of the movements of the various limbs. The analysis of molar movements or movements of the whole body is thus the analysis of the movements and relative positions of each separate limb in r e lation to its own 'individual' spherical system of reference (illustrated in Figure 9). Each of these individual systems is centered round the joint of a limb and thus they are located in different places in space. There is, therefore, no single, fixed, stationary system to which all movements and positions are related. A heavy limb changes the location in space of the system of reference of the lighter limbs carried by it, but all the systems have the same general orientation. Their zero axes - and hence, any given plane in their systems - are always parallel. Figure 10 illustrates how a heavy limb changes the location in space of the system of reference of the lighter limbs carried by it, but does not alter the parallel relations or general orientation of the systems. In Table I seven examples are given of notation of upper limb pos-

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56

Fig. 6 1-45° h L

0

f-a

®

u.a

h

il)

«>

R

u.a

hd,

n tao

i})

© l®

Fig. 8

Figure 6. The schematized human figure stands facing the observer, arms held loosely to sides, palms facing the thighs. This is ZERO POSITION. Figure 7. Notation of four possible arm positions in a spherical system of reference centered round the shoulder. The lower number identifies the line of longitude and the upper number the height or latitude. Figure 8. Notation of a given posture of the upper part of the body. Abbreviations: h = hand; L = left; R = right; f. a. = forearm; u.a. = upper arm; hd. = head; n. = neck; tso. = torso. The lower number identifies the longitude and the upper number the height or latitude.

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Fig. 9

Figure 9. Individual systems of reference of the limbs. There is no single, fixed overall system of reference, but rather, a series of parallel systems. These systems are represented here by their horizontal planes (shaded a r e a s ) and vertical axis only, but each is, of course, to be thought of as a sphere, centering on the joint from which the limb moves. Thus the wrist is the center point for the hand's individual system, the elbow f o r the forearm's individual system, etc. The horizontal (yO) and vertical (xO) zeros of each system a r e indicated. Note the parallel relations between them.

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58

Figure 10. Movements of the upper arms change the location in space of the systems of reference of the forearms. As the right arm moves from point A up to point B, and the left arm from point C to point E, although the forearm systems are raised or lowered and shifted to the right or left, their zero axes remain parallel throughout. Note that the figure is not a mirror image! Figure 11. Rotatory states, labelling the sides of the body. Each side of the body is given a 'label'. This label is the number of the line of longitude facing it when the person stands in zero position. Every limb can be labelled in the same way. The figure is shown facing zero, and the center front of the body is labelled ( 0 ) . The rotatory label for the center back is (4), f o r the direction due right, ( 2 ) , and due left, ( 6 ) . Note that the figure is not a mirror image!

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59

itions which can now be read by applying the information given so far. The positions are also described verbally so that the reader can check his own performance from the notation. (Table I is on p. 107. ) 4. 0 ZERO POSITION AND ROTATORY STATES The position of the body in normal upright posture is referred to a s ZERO POSITION (see Figure 6, in which this is represented schematically). In zero position the longitudinal axes of all the limbs except the shoulders and feet are vertical. Positions of limbs can be defined, as shown above, by relating their axes to the positions in the system of reference. However, the limbs may also be rotated about their own axes, which does not change their position in the system of reference, but may give rise to differences of considerable significance. This is frequently the case in the sign language of the deaf. When the head, for example, is in the zero position (denoted by ^ , this notation alone gives us no indication of which direction it faces, whether full face, right or left profile, etc. To give another example relevant to the deaf sign language, the notation ( ^ j for the forearm tells us that it is stretched horizontally, directly forward, but not whether it is palm up, as in begging for alms, or palm down, as in an attitude of benediction. These differences ( - which are crucial to some signs - ) depend on the ROTATORY STATE of the limb in question, i. e . , "which way round" it is on its axis. To define this the surfaces or 'sides' of each limb are identified by allotting to each a number which indicates the direction on the system of reference in which they face WHEN THE BODY IS IN ZERO POSITION. These numbers remain fixed, like labels, on the sides of the limbs, turning with them. (See Figure 11). If we imagine the body as a cube, the surface facing forward is labelled (0), the right side (2), the back (4) and the left side (6). Similarly the 'corners' can be labelled with the appropriate odd numbers, between these numbered surfaces. Every limb can be labelled following this principle. Thus, the 'rotatory sides' of the right arm are numbered so that the surface along the thumb-side of the hand is ( 0 ) - as this is the side facing directly forward when the body is in zero position, hands passively hanging to the sides. The surface in line with the back of the right hand is (2 ), the elbow side (4) and the palm side (6). (Note that the left arm is labelled differently: here the palm side is (2) and the back ( 6 ) . ) to analysing the rotatory state of a limb in a given position the s u r face indicated is that one which is uppermost (i. e., feeing the ceiling). There is only one exception to this rule: where a limb is vertical (i. e . , in the position ( ^ j or ^ ^ ). As in these positions almost none of the eight labelled surfaces is, in fact, uppermost, *3 instead the surface indicated is that facing directly forward.

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Figure 12. The three types of movement. Movement is symbolized by the circular paths'around the axis of movement - paths traced by the extremity of a moving limb. (Any single movement made by a single limb about a joint can be expressed as an arc on such a circular path, as long as the joint is not being moved at the same time by a heavier limb.) The types of movement are distinguished according to the size of the angle between the axis of movement and the longitudinal axis of the moving limb - called in brief the 'angle of movement'. Most of the circles in the figure are the bases of cones, and we can imagine the length of the limb moving over the outer surface of the cone, while its tip traces part of the circumference of the base. Movements of this type are termed 'conical' and the angl'e of movement between the two axes is greater than zero but less than 90°. When the angle between the axes is exactly 90°, as illustrated at the center of the figure, the limb does not move over a curved surface but over a flat one, in a plane. It is termed 'plane' movement, and the limb describes a circle of the largest possible size. The third type The third type of movement is when the moving limb does not change its location in space, but only rotates on its own axis, changing its rotatory state. This type is called 'rotatory' movement and is indicated in the figure by the arrows at the top of the axis of movement. This axis coincides with the limb's longitudinal axis, so that the angle of movement is zero. Note that the direction of all three types of movement may be either clockwise or counterclockwise.

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61

In the notation this number is written in parentheses, above the numbers giving the position of the limb in the system of reference, (2)

e.g. /4\ written in the head's space indicates it is upright, facing \oj (2) left, or /2\, written in the forearm space, indicates that it is 1 and the left ear on line

skull will be finger will be

^

, the right ear

. In mapping the left hand the tip of the middle (^j

; a line drawn the length of the palm from finger-

tips to the wrist will be

^

back of the left hand will be

, and the same line drawn along the Q

These topographical positions are identified in the notation by the T1 use1 of1 square brackets above and below them, e. g., „ . Thus, 2 |^ i „ will refer approximately to the region of the-1 joint between lAJ f^ the middle finger and the palm of the left hand, ^ to the palm side of the center of the wrist, and so on. This principle is illustrated in Figure 31 for the head, and in Figure 32 for the upper arm. It is in fact possible to perform such a mapping for any part of the body, even for parts such as the nose or cheek, which do not move. In this way, whenever movements are directed towards specific, precisely defined areas, we may apply the method to as many parts as are necessary. The mapping may apply to only part of a limb, such a s the face (rather than the whole head) or the nose (rather than the face). In such cases it is sufficient to adapt only half the sphere of the system of reference to the limb's surface. A given point will be indicated differently depending on what frame

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86

Fig. 33

Fig. 32

Figure 32. Topographical positions on the upper arm. The contours on the arm correspond to lines of longitude and latitude on the spherical system. Figure 33. Traced patterns of contact: a circular trace. If a trace is circular, the sign for conical movement replaces one of the square brackets in the notation (the upper bracket if the movement is positive, the lower if it is negative). This figure shows a positive circular trace which would be written in the notation as the two positions indicating the diameter of the circle, the first one giving the starting position. See text. Brought to you by | provisional account Unauthenticated Download Date | 1/5/20 1:32 AM

87 of reference is ji^ed. For instance, the bridge of the nose will be indicated by by

Q

f.

when the nose only is mapped, but would be denoted

in a system mapping the whole head. It is therefore im-

portant to specify precisely which f r a m e of reference is being used. Like rotatory states ( s e e section 4. 0), topographical positions remain, a s it were, attached a s labels to the limbs. Two topographical positions in succession with only the 'loose' contact symbol between them, and no other movement symbol, imply whatever movement is n e c e s s a r y in o r d e r to change the topographical position, while maintaining the 'loose' contact. Table XI provides examples of contact of the hand with various l o cations on the surface of the body, identified by means of topographical positions. ( S e e p . 120.) 9. 0 TRACED PATTERNS OF CONTACT The mapping of the body's surface makes possible the notation of patterns traced upon it by a finger, hand, o r other limb, moving in loose contact. Clearly the whole aim and significance of such movements is the resulting pattern, which must therefore be specified u n ambiguously. On the other hand, notation of the movements by the usual means is superfluous, and may even be impossible, since movement notation is abstract, and does not take into account the actual physical proportions of individuals. An unusually short f o r e a r m , f o r instance, might prevent the required contact from being made at all, if the previously discussed methods of movement notation w e r e adhered to. In the notation of traced patterns of contact the symbol | is written in the space of the limb which is to t r a c e the pattern. (If the tip of a limb is involved, this is indicated by adding the symbol •[— , thus: • |— | . ) One of the following v e r s i o n s of a topographical position is written in the space for the other limb. 9 . 1 TRACING A STRAIGHT LINE If the t r a c e is to be a straight line, the p a r t of the body upon which the pattern is to be 'drawn' is given a contact sign, followed by two 'topographical positions': these positions define the beginning and end of the line to be traced; e. g . , Left thumb •(- [_ 2 l1 |— , 11 1, The above notation indicates that the tip of the left thumb t r a c e s a line f r o m the middle of the right cheek, a short distance downward. Face

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Figure 34. A semicircular trace. The movement in the figure is written a s

[rM

, . The short line

added to the symbol for conical movement (indicating a circular path) and the number underneath it indicate the plane in which the movement is made. The first of the positions gives the starting point and the second, the end point. Figure 35. The notation of distal, medial, and proximal segments of the fingers. See text, section 10. 0.

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89 9. 2 TRACING A CIRCLE If the trace is to be circular, the conical movement symbol - positive or negative - replaces one of the square horizontal brackets (the upper or lower one respectively). In this case the two positions given indicate the ends of the diameter - the first being also the starting position of the trace. This is a means of expressing concisely the fact that the limb, and, if necessary its 'heavier' neighbors, perform unspecified movements which together result in one limb (the part in loose contact) 'drawing' a circular path on the body surface. For example, Chest

|— Q Q

indicates a positive circular trace,

Right index'H1 I and

Chest

i

1

2 4

1

— . . 1 ^vJX

indicates a negative circular trace. (See Figure 33 ).

Right index >|— | Table XII gives examples of traced patterns of contact on the surface of the body. (Seep. 121.) 9. 3 "TRACING" A SEMICIRCLE IN SPACE There is convention for drawing a semicircle in space, if this is based upon (and defined according to) a line mapped onto the body surface. This plane is written under a bar attached to the end of the conical movement symbol: e. g., 0 0 X/iÖT This is illustrated in Figure 34. In the notation, in the space for the tracing limb a conical movement notation symbol is written, in quotes, ' J ^ V ' , but no additional information ( such as position, movement, etc.), is given. 10. 0 HAND-SHAPES Hand-shapes are whole hand positions - such as a clenched fist, a cupped, or a flat hand *7 - produced by the combined positions of all the parts of the hand in relation to one another. In the manuscript page the fingers are allotted spaces one above the other, in serial order, from the thumb, 1, to the little finger, 5.

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But although the palm is "heavier" (see Section 2.0) than all of the digits (whose spaces are above it) and carries them in all its movements, the digits themselves have a considerable amount of independence from one another in their movements: the position or movement of the index finger, 2, for example, does not affect at all those of the little finger, 5 and it is thus not the "heavier" limb. The a r rangement of the notation spaces of the fingers is thus really more a matter of convenience than a direct consequence of the law of light and heavy limbs. The analogy in arrangement allows us certain useful conventions, which will be discussed below. Because of the relative independence of the fingers, although the range of movement in any single joint of a finger is limited, there is a great multiplicity of possible combinations of movements, and hence of different positions, which are their outcomes. The movements of the fingers - and indeed, of each of their separate segments - could, of course, be written out using the previously discussed principles of movement notation. However, the significance of signs very often lies in the handshape itself, i. e., in a given p o s i t i o n rather than in the m o v e m e n t s or transitions from one handshape to another. Consider, for example, the act of fully spreading the fingers from a position in which the fingertips are bunched together (e. g . , as in the sign for light-bulb, 6. 3 in the dictionary ). Here, as in many signs, it is the beginning and end positions (bunched, and then fully spread fingers) which are most prominent in the action. If the trasition is to be performed in the shortest possible time, the way in which the new shape is achieved can be readily inferred. Only one set of paths for each digit is likely, and in any case, the path is of no particular importance. To deal with this important consideration, as well as to facilitate notation of the multitude of changes and shapes assumed by the hand, a number of symbols and writing conventions have been devised which are discussed below. They are largely based on the two main symbols, ^ , for extension, and J , for flexion *8, used in combination with other symbols such as those for contact, |— , and release of contact, =, described previously. In the present work it has not been found necessary to allot separate notation spaces to each finger-segment, although such a subdivision is possible in principle. Where necessary the three segments of the digits are indicated by the letters C, B, and A, denoting the distal (or end), middle, and proximal segments respectively, as illustrated in Figure 35. In the dictionary these letters appear only in conjunction with contact or opposition symbols, to define more precisely the way the hands and fingers are oriented to one another or to other limbs. The tip of a digit is denoted by a dot, written beside the contact or opposition symbols (see section V. 1). The joint between proximal and medial, or medial and distal segments are indicated where necessary by placing a dot above or beside the letters A, or B, respectively (in the form A*, A, B-, or B). The lines separating the finger spaces on the manuscript page represent the intervening spaces between the fingers, at their roots. In order to refer to these spaces, contact or opposition symbols will be

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91 written on the appropriate line or lines. Hand-shape symbols usually appear in the first column of the notation in the present work, and are to be assumed to continue throughout the notation of a given sign unless a change is specified. An important convention in writing hand-shape symbols - analogous to the law of light and heavy limbs - is that when a symbol appears in the palm space it applies to all the digits. (This is possible when all the digits function in a similar manner, e . g . , the "flat hand" (see Figure 36), explained below, where all the digits are extended and in contact with adjacent digits.) Similarly, a symbol written in a given finger space applies to all the fingers whose spaces lie above it, unless indicated to the contrary by the presence of an additional symbol. Another important convention allows us to specify which joints of the finger are to be flexed and which extended. Three levels are distinguished on the hand-shape "shaft" ( something like the stave in musical notation): the top represents segment C, the center r e p resents segment B and the base, segment A. Writing the symbols X (for extension) and / \ (or V for flexion) at these different levels indicates where the flexion or extension occurs. For example, the symbol | means that segment A ( i . e. the knuckle) is straight and segments B and C are bent. The symbol £ means that both segments A and B are straight and C alone is flexed. A means that segment A is flexed while B and C a r e extended. *9 The symbols ~T for contact and = for contact-release are also incorporated in the handshape symbols. Thus I (the symbol for the characteristic handshape of Chapter 8 in Part IE of the Dictionary - see also Figure 43) means segment A is extended, B and C are flexed and the fingers are apart, as far as possible from one another in the same plane. The symbol J means that the 3 segments a r e straight (this is implied by the absence of a flexion symbol) and in contact with the neighboring digits; the symbol J also means a straight hand, but with the fingers spread apart. ("These a r e the hand-shapes of Chapters 1 and 3 of Part in of the Dictionary, illustrated in Figures 36 and 3 8 ) . The sign >(c , which incorporates neither a contact nor a contact - r e l e a s e symbol, implies (where written in the palm space) that the fingers continue the line of the metacarpals, and are neither in contact nor maximally spread away from the adjacent fingers. This same symbol, however, has a significantly different implication when written in a digit space, as the sole symbol for the whole hand. It was stated previously that hand-shape symbols written in the palm space apply to the whole hand. While there is no exception to this rule, there is an important convention which is an exception to a related rule, namely, that symbols written in lower digit spaces apply to all higher digit spaces unless another symbol is given for them. The above-mentioned symbol, ¡)r , when it appears alone in a space OTHER than the palm space - and no additional symbols a r e written below or above it - implies extension of the digit in whose limb space it is written while all the other digits are in a converse position. This convention is used in the present work mainly in Chapter 4 of P a r t III of the Dictionary (See also Figure 3 9 ) . It is written in the index finger space and means that this finger is fully extended while the rest of the hand is in a fist.

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The hand-shapes used in the f i r s t fourteen chapters of P a r t III a r e illustrated in Figures 36 to 49, pp. 98-106, showing the notation symbols expressing them. These same handshapes are also found throughout Chapters 15 to 23 of P a r t III (see P a r t I, section 3. 2.1, a and b). 11. 0 OTHER NOTATION CONVENTIONS The remaining notation conventions used in the present work will now be summarized and explained. 11.1 CONVENTIONS RELATING TO DYNAMIC ASPECTS 1 1 . 1 . 1 Repetition ( a ) If a sign consists of a repeated movement it is terminated with a double bar line and colon ( s i m i l a r to musical notation), :|| (see, e. g . , sign 1. 76 ). This means that the entire sequence of movement in the time units preceeding the repetition symbol is r e peated once. (b) If the sequence is to be repeated m o r e than once, f o r an unspecified number of repetitions, the symbol j|| is written (e. g., sign 1. 77). ( c ) If only p a r t of the sequence (i. e . , the movement denoted by only some of the columns) is to be repeated, a repetition symbol facing the opposite way is written at the left of the opening column of the sequence to be repeated, ||: with the symbol :|| at its end. Thus only the a r e a enclosed between the two symbols is repeated ( e . g . , signs 1. 23, 2.43, 5. 16). These symbols may be written f r o m the bottom of a notation column to its top, or over a few limb spaces, depending on whether all or only part of the features in the notation a r e to be repeated. The latter c a s e is illustrated e. g . , in signs 10.10 and 10.11. 11.1. 2 Reversal ( a ) The letter R indicates reversal of a preceding movement sequence e. g . , signs 2. 3, 2 . 4 ) . If it is written in a separate column at the end of a s e r i e s of columns it implies execution of the entire movement sequence preceding it in the r e v e r s e order and direction. If the letter is written on the line between two limb spaces ( e . g. sign 2 . 1 0 ) it r e f e r s to r e v e r s a l of the preceding movements in both limbs. If contact or opposition occurs in the initial position of the sign, R implies reverting to that initial contact ( e . g . , sign 20.4 ). ( b ) A single movement is sometimes given (without writing R or specifying a r e v e r s e path) followed by the repeat symbol. In such a case it is implied that there is no particular significance in the

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93

way the limb is brought back to its original position, but only in the movement written out ( e . g., sign 18.19). Note that reversal of a movement may equally be indicated by R or by the appropriate movement symbol denoting the reverse path of a previous movement. 11.1. 3 Acceleration In general it is assumed that the sequence of movements flows uniformly from left to right from column to column ( i . e. over time units) There are, however, a few cases where speeding up or sharply terminating a sign is of special significance. In these cases the following symbol is used T] , written at the right-hand bar line, enclosing the relevant limb spaces involved in the movement ( e . g., signs 3.3, 3. 5, 10. 7, 10. 8). Its implication is a sharp movement, gradually speeded up, and ending abruptly. 11.1.4 Transition between time units Transition from one time unit to the next is assumed to be a smooth, continuous procesls, but a blank column (or blank space between two filled limb spaces) separating one part of the sequence from the next indicates a slight pause or break in the continuity of the movement sequence. (See, e . g . , signs 11.4, 14.7). 11.1. 5 Simultaneity or sequentiality of occurrence Features occurring at the same time in different limbs are written in the same column in the appropriate limb spaces, aligned one above the other (unless the space is too cramped due to the presence of many other symbols). ( a ) Occasionally movement symbols for different limbs in a single column are written out of line (e.g., sign 1. 20). (This applies mostly to plane movements.) The disalignment implies - unless space is cramped due to the presence of other symbols - that the movement further to the left preceeds that further to the right. ( b ) Sjrmbol alignment or disalignment, where space permits, similarly implies relative order of occurrence within a time unit for contact symbols. ( c ) Sometimes a single limb space is subdivided by a heavy line in order to emphasize this sequentiality of occurrence ( e . g. signs 14.9, 14.10). ( d ) Where two symbols are written in a single limb space for one limb, and only one symbol for a different limb in the same column, the latter executes the movement denoted throughout the time the former limb performs both the movements indicated for it. (These movements may be simultaneous - see section 5.4 on combinations of types of movement within a single limb - or sequential, e. g.,

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94

as in the case of a positive and then a negative plane or rotatorymovement. ) 11.1. 6 Continuity over time units ( a ) Handshape, contact, movement, and fixation symbols, once written, continue to apply throughout subsequent columns until modified by further symbols, or until closed by a heavy bar line. (b) Opposition symbols and the symbol for bilaterally symmetrical positions (-}f )do not necessarily hold over subsequent columns. ( The symbol f (i—i) denotes fixation of opposition; see section 6.2.) ( c ) The continuation of a feature such as opposition or contact throughout a subsequent sequence of time units may be stressed by drawing a 'bow' over the columns concerned (see, e. g., signs 3. 34, 22.31, 22.54). 11.2 CONVENTIONS RELATING TO BILATERAL SYMMETRY 1 1 . 2 . 1 Positions If the positions in corresponding parts of the body are in bilateral symmetry they need be written out in full notation f o r only one of the paired limbs. The symbol (-t+)is given for the other limb. In the present work this convention applies almost solely to the a r m s and hands. Bilaterally symmetrical positions are written in full for the right hand and the symbol( -H")is written in the left upper arm space (see, e . g . , signs 1. 55, 1.73, 1.90). 11.2. 2 Movements A similar principle applies to the writing of bilaterally symmetrical movements. These are written in full for the right hand and denoted by the symbol -)-(written in the upper arm space for the left hand, the bow being drawn across the number of columns during which the symmetry applies (see, e . g . , signs 2.9 through 2.15, 2.21, 2.22). To avoid possible confusions the symbols for contact, contact-release and opposition are written in full for both hands, for both movement and position. (See, for example, 1.43, 1.44, 1.45, 1.46.) (Note that throughout the notation parentheses imply positions rather than movement.) 11. 3 ADDITIONAL CONVENTIONS RELATING TO MOVEMENT SYMBOLS 11.3.1 Duration of movements

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95 Movement symbols remain in force over time units until a heavy bar line is written at the right of the appropriate limb space to indicate their termination. ( E . g . , in sign 1.16 the movement given for the upper arm continues throughout the sign sequence.) (An example of a sign where a heavy black line indicates discontinuation of a movement is found in 1.47. The movement of the upper arm ends in column two and for the forearm in column three. ) 11. 3. 2 Amounts of movement ( a ) When no amount of movement is indicated at all its magnitude is indefinite, usually less than one unit (unless there is some other indication, such as a subsequent contact symbol, suggesting that a larger movement is involved). ( b ) The letter M written instead of the number denoting amount of movement indicates that the limb moves to its maximum capacity within the range of the joint (see, e. g . , signs 1. 8, 2. 2, 3. 6, 4. 7 ) . ( c ) The small letter m indicates that the minimal possible movement is made ( e . g . , signs 1.47, 1 4 . 1 5 ) . (d) The minus or plus signs may be appended to the number denoting amount of movement to modify it in either direction. *10 11.3. 3 Plane movement conventions ( a ) The symbols 2 and J , used in the present work for the upper arm only, have the same general meaning as the symbols J and . They are written without specifying a plane or amount of movement and express raising or lowering the upper arm (e.g., sign 1. 55). ( b ) The forearm convention, discussed in section 5 . 3 . 2 , is similarly written without specifying the plane or amount of movement, f expresses flexing the forearm toward the upper arm, and 1 the opposite movement. 1 1 . 3 . 4 Conical movement in the palm space When conical movement is written for the hand, as there is so little freedom of movement, the diameter of the cone is not written. 11. 3. 5 Fluttering hand movements The symbol f ' appearing in one of the finger spaces signifies a kind of fluttering movement. If the symbol is written with a bracket including a number of fingers, it signifies that they participate in an alternating 'fluttering' movement, each finger moving in a different direction ( e. g., signs 3. 9, 3.11, 3 . 1 3 ) .

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96 11.4 OTHER CONVENTIONS 1 1 . 4 . 1 'Passivity' The letter P indicates that a limb moves passively allowing the force of gravity to act upon it ( i . e . , it tends toward position ( n ) , e. g. sign VU/ 1.11). Written in parentheses ( P ) it implies a passive position (usually, in the present work, a nonspecified, releaxed hand-shape). (See, e. g . , signs 1. 70, 1. 81, 1. 86, 1. 87.) 11.4. 2 The upper arm position If no position or movement is specified for the upper arm this signifies either ( a ) - if there is contact o r opposition between a lighter limb and another body part - the upper a r m is in whatever position it assumes when passive in the given constellation, or ( b ) - when there is no such contact or opposition - it tends toward position ^ j , or, if this is awkward, is in the most comfortable position for performance of the movements specified. 1 1 . 4 . 3 The mouth The following symbols are used to denote common positions or movements of the mouth. (If the symbol is enclosed in parentheses it denotes a position; without parentheses, it denotes movements.) open

1 t

closed

pursed lips corners pulled downward

^ ||

smiling 1 1 . 4 . 4 The eyes As in 1 1 . 4 . 3 above, two symbols are used to indicate position or movement of the eyes (in parentheses for position and without p a r entheses for movement): Open

|

Closed

|

Note that the sign for 'open' here is used to denote 'close' for the mouth, and that for 'close' here denotes 'open' for the mouth. The reason for this is that in the case of the mouth it is the lower jaw which moves and here, the upper eyelid performs the movement. The symbols a r e therefore consistent with previous discussion on notation of movement and the resulting positions.

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97 11.4. 5 Crossed limbs A symbol, , is written in the space of a limb which is in front of another limb in the same plane, where this is not clear from the notation (e.g., signs 15. 22, 1. 87). NOTES *1 Note that here and in the following the term 'limb' is used loosely to refer to either a limb proper or a body part such as the head, chest, finger, etc. *2 Note that by the term 'horizontal plane' the equatorial plane is always meant, and never any planes parallel to it (i. e., planes which, on the geographical globe, would coincide with the upper and lower lines of latitude). *3 Unlike the previous categories of plane movement the amount of movement here is seldom a multiple of the basic unit of 45°. *4 Note that cones are termed 'horizontal' or 'vertical' according to their bases and not their axes! *5 The term "simultaneous" is used here only in this special sense. There are, of course, many instances in which non-adjacent, independent limbs move at the same time. Simultaneity in this sense is discussed in the section on Conventions, 11.1.4. *6 Note that the notation used here refers to directions on the sphere of the system of reference, not to the topographical positions themselves, which are written differently, as will be explained below. *7 Note that while we are all familiar with numerous hand-shapes typical of many activities and commonly used gestures, very few of these shapes have specific names! *8 These symbols are based on pairs of positive and negative plane movement symbols, ^ , or ^ in adjacent limbs. A fuller explav T nation is found in Movement Notation, Noa Eshkol and Abraham Wachmann, Wiedenfeld and Nicolson, London, 1958. Readers are also referred to The Hand Book which deals with the detailed notation of hand and finger movements, published by the Movement Notation Society, 75 Arlozorov Street, Holon, Israel, 1971. *9 It will be noted that, following the law of light and heavy limbs, a symbol also applies to the segment above it, unless another symbol is written in the appropriate space. *10 This applies also to the notation of positions (e. g., signs 9.16, 18.5).

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Figure 36. Flat hand Written in the notation;

5 4 3 2 1

pa.

Figure 37. Fist Written in the notation:

5 4 3 2 1

pa.

|

A

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Figure 38. Spread hand Written in the notation:

5 4 3 2 1 pa

Figure 39. Extended index finger Written in the notation:

5 4 3 2

I

1

pa.

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100

Figure 40. Spoon Written in the notation:

5 4 3 2 1

pa.

Figure 41. Bunched fingers Written in the notation:

5 4 3 2 1

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Figure 42. Paying hand Written in the notation:

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Figure 45. Two fingers spread Written in the notation:

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pa. Several variations in the notation occur: sometimes the symbols J , $ . | , ( P ) , or J occur instead of | . This means that the ~ middle finger, ring finger and little finger are spread, slightly curved, clenched, "passive", or touching, respectively.

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105 Figure 48. Extended thumb Written in the notation:

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198 3.32 TEST (v., n.), CRITICISE, CRITICISM, RESEARCH ( v . , n.) to penetrate Forearms horizontal, both hands spread, thumb-sides up, RH fingertips pointing at L palm; fingertips of RH are poked at L palm several times. 3.33 BOARD, PLANK, WOOD (material) to cut a tree Thumb-side of flat LH, palm down, hits against back of upright R forearm; R palm faces body. The same Hebrew word is used for both 'tree' and 'wood' (material). See also tree, 3.1 3. 34 FEEL, FEELING LH passive, diagonally down forward, palm down; fingertips of RH in contact with back of L wrist, are slid lightly up to elbow, maintaining contact. This is not used for feel in the sense of 'touch'. 3. 35 OR two sides of a thing Forearms horizontally forward, both hands spread, RH palm down, LH palm up; forearms turn so that RH is palm up and LH palm down. See also or, 2. 38 3. 36 CROWDED pressed together Forearms diagonally up, palms in contact, R fingertips pointing up, L fingertips point forward; maintaining contact, position of hands is reversed, several times. 3. 37 CONFUSION, REVOLUTION to mix up Forearms horizontal, R due left, L due right, palms down; RH describes small circles while L forearm moves around it, LH describing large vertical circles.

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See also upheaval (social), 8.17 3. 38 MAGICIAN dexterous hand movements L forearm horizontally forward, LH bunched; spread RH horizontal, diagonally left, both hands palms down; RH seems to describe a semi-circle, forearm becoming horizontally forward, is then moved horizontally back to former position while fingers bunch. The reverse of this movement is meanwhile made by LH. 3. 39 FOREST trees Both hands spread; R forearm upright, palm facing body, elbow in contact with back of LH; maintaining contact, arms move to right, while forearm turns several times so palm faces first one way, then another. See also tree, 3.1 and plank, 3. 33 3.40 PERHAPS, IF R forearm diagonally up forward, palm down, is turned palm up. This sign is accompanied by a questioning facial expression. See also even if, 22.40

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4.13 FAR into the distance Upper arm raised horizontally, due right, forearm horizontally f o r ward, palm down; forearm remaining horizontal, it turns several times, so palm faces different ways, while arm is straightened horizontally forward. 4.14 HIGH to go up Forearm upright, little-finger side forward, is raised vertically while turning several times so palm faces different ways. A drawing in of breath through pursed lips may accompany this sign. The sign may be sued to describe a tall, thin person. 4.15 DEEP to get down deep Upper arm raised horizontally, due right; forearm diagonally down forward, palm down, is lowered while turning several times so palm faces different ways. 4.16 LIGHTNING Forearm diagonally up forward, palm forward, is turned several times so palm faces different ways, while upper arm is lowered to position diagonally down, due right. See also electric current, 4. 20, 10. 21 4.17 QUARREL ( v . , n.) Hands horizontal, R due left and L due right, thumb-sides up; tips of extended index fingers point at one another, and are moved to contact one another. Movement is reversed and repeated. 4.18 EACH ONE, EVERYONE Upper arm diagonally down left; forearm diagonally up left, palm up, is moved up and down several times while swung round to point diagonally up right. See also everyone, 1.49

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4.19 SNAKE snake crawling Forearm horizontally forward, palm down, is moved forward while turning several times so palm faces different ways. 4.20 ELECTRIC CURRENT lightning Forearms horizontally forward, hands diagonally up, palms forward; upper arms are lowered to a position diagonally down due right and left while forearms turn several times so palms face different ways. See also lightning, 4.16, and electricity, 10.21 cooking gas is signed by this sign, preceded by the finger touching the nose to indicate smell. 4.21 BE BRIEF to shorten Forearms upright, palms facing one another are brought close together, still upright. This sign is also used for reduce, e. g., as in reducing working hours. For shortening material things like dresses, or the hair, etc., an appropriate imitation of the relevant action is made. 4.22 CHOIR, SING (in choir), CONDUCT (blend) Forearms diagonally up, R to right and L to left, palms forward; index fingers appear each to describe a convex semi-circle in the air, while moved R diagonally up left and L diagonally up right; movement is reversed. This sign may be a blend of song, 17.15, and conducting. 4.23 L A Z Y to flop down Hands horizontally forward, palms down, index fingers close together and parallel; arms are flopped down to sides.

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4. 34 CIRCUMCISION to cut R forearm horizontal, both hands thumb-sides up; extended R index crosswise in contact with extended L index, cuts across L fingertip several times. 4. 35 HOLE L forearm horizontal; R forearm diagonally up left, palm down, index pointing down at thumb-side of LH. RH is lowered so index enters 'hole' made by touching tips of L thumb and index, rest of LH in fist. 4. 36 HOUR movement of clock hand Tip of extended R index draws clockwise circle on back of L wrist. To sign one o'clock, one points at wrist-watch (or back of wrist) and adds the sign for one, 23.1. Similarly for two o'clock, etc. See Introduction to Chapter 23, and compare with one week, 23.16, etc. To sign what time is it? the signer taps his watch face with a questioning facial expression. 4.37 SHOW (v.), DEMONSTRATE, PRESENT (v.) to show LH flat, thumb-side up, horizontally left; tip of extended R index, thumb-side up, in contact with L palm; maintaining contact, hands are moved forward. 4. 38 AUTOMATIC mechanical motion LH passive, palm down; forearms horizontal, R wrist in contact crosswise with back of L forearm; RH diagonally up left; maintaining contact, forearm turns till palm up, and back to former position. 4.39 LAST (v.) length Tip of extended R index is drawn along thumb-side of outstretched L arm, from L hand to shoulder.

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Forearm upright, palm toward face, turns so palm faces f i r s t one way and then another. This sign is sometimes used in the sense of "I need air". 7. 6 HAMMER (v., n.) to hammer Forearm diagonally up left, thumb-side up, is lowered and raised several times, as though hammering. This sign is also a component in nail (n.), 11.17 7. 7 EXPENSIVE higher Forearm diagonally up forward, thumb-side up, turns palm down; hand becomes upright. Compare with pay (v.), 7.4 7. 8 EDUCATION think, 18. 24 +

to raise

Forearms diagonally up forward, hands horizontally forward, thumb-sides up; upper arms are raised slightly, forearms and hands maintaining their previous orientation. 7. 9 STRIKE ( v . , n.) (labor) to lock Forearms horizontally forward, parallel, palms up, turn so that palms are down. 7.10 GAS STOVE cooking gas, 4. 20 (note) + turning on gas Forearms horizontally forward, palms down; rotate so that palms face up. See also baking oven, 2. 6

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7.11 HORSE to rein a horse Forearms horizontally forward, thumb-sides up, imitate drawing in reins. carriage =

+ wheel, 4.47

See also ride (horse), 10. 20 7.12 SELL to give away Forearms horizontally R to left and L to right, hands close together, thumb-sides up; are swung out to positions R to right and L to left, wrists bending back so hands are due right and left. Movement is reversed and repeated. This sign possibly describes spreading wares. See also commerce, 7. 26 7.13 CLUB MEMBER (blend?) Forearms diagonally up, hands thumb-sides up, little-finger side of RH in contact with thumb-side of LH; maintaining contact, are lowered forward. This sign may be a blend of alike, 4.25 or brother, 4. 27, 4.28 and E2X ( v - )> See also club (organisation), 6.10 7.14 CONTACTS (social, business, etc.) Forearms horizontal, R to left and L to right, thumb-sides up, hands parallel to body, move together till second joints of index and middle fingers contact. 7.15 CURTAIN to draw curtains

(+ 3. 25 (note))

Upper arms raised diagonally up, R to right and L to left, forearms diagonally up forward, palms forward, move towards one another until hands contact at thumb-sides.

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246

Chapter 8 CLAW

8.1 SUN sun shining Upper arm raised horizontally right, forearm upright, palm forward, is lowered forward slightly. 8. 2 FAUCET to open the faucet Upper arm raised horizontally, forearm diagonally down forward; hand palm down is turned clockwise; movement is reversed and repeated. To sign sink or wash basin, in addition to this sign, C-hands also describe a rectangular outline. 8. 3 STONE, ROCK [ round shape ]

+ hard, 2.31

Forearm diagonally up forward, thumb-side up, turns several times to face different ways. 8.4 ANGRY, SCOLD to attack Forearm diagonally up forward, palm forward, makes slight foreward and backward movements. See also angry, 21.17 and 21.18, and scold, 17.34 8. 5 TOMATO [ round shape ]

+ red, 17.12

Forearm upright, little-finger side forward, turns several times to face different ways.

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move in a horizontal, clockwise semi-circle and back to former position. See also revolution, 3.37 8.18 POMEGRANATE [ round shape ] + seeds in fruit R forearm upright, little-finger-side forward, turns several times to face different ways. Then RH diagonally up forward, palm down, LH in butterfly, tips of touching thumb and index contact back of RH in several places. 8.19 JAR (n.) Fingertips of clawed RH in contact with palm of flat LH, palm up. RH is raised vertically while closing into bunched fingers, and then opening again into claw. See also bottle (n.), 14.46 8.20 COOK (v.), BOIL (v.) to boil R forearm diagonally up forward, L forearm horizontally forward; both clawed hands palms up; LH is raised while RH is lowered. Position of hands is reversed and movement is repeated several times. This sign is also a component in kitchen, 12.19 (note) 8.21 VILLAGE, KIBBUTZ (collective settlement) to wrap grapefruit Forearms diagonally up, R to left and L to right, palms facing, RH palm down; forearms turn several times to face different ways, palms still facing one another.

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254

Chapter 9 TWO FINGERS EXTENDED

9.1 OATH, TAKE AN OATH to take an oath RH upright, palm forward; LH flat, L forearm horizontally forward, palm down. 9.2 BLUE sky R upper arm raised horizontally right; forearm upright, palm forward; fingertips appear to inscribe a small horizontal circle. 9. 3 SICK, TEA (?) R forearm diagonally up left, L forearm horizontally, right, both thumb-sides up; little-finger side of extended R fingers hits thumb-side of extended L fingers; movement is reversed and repeated. This sign may possibly have originated in the chopping of tea-leaves, at the time when tea was commonly supplied in the form of a hard slab. (In the Middle East one of the first 'medicines' one resorts to when sick is - a cup of tea!) Compare with coffee, 10.26 9.4 INTERMISSION, RECESS to divide Forearms upright, little-finger sides forward; are lowered diagonally forward. 9. 5 RETURN (v., intrans.), REPLY (v., n.) to bring near to oneself Forearms horizontally forward, palms down; forearms remaining horizontal, elbows are drawn back to sides; wrists bend so fingertips

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point down. For reply, the direction of the sign varies according to the recipient. See also answer ( v . , n.), 17. 33 9. 6 AGREE to meet Forearms diagonally up forward, palms up, are lowered, so back of RH in contact with palm of LH. This sign enters as a component in agreement, (n. contract), 2.29 (note). This is a variant of understand, 10. 3 and 18. 5 See also agree, 14.40 This sign, made with a headshake, means disagree. 9. 7 NEAR Forearms horizontal, hands diagonally down, R due left and L due right; palm side of extended R fingers taps back of extended L fingers. Movement is repeated. neighbor =

+ house, 1. 35

9. 8 CLEAN (adj.), INNOCENT to wipe clean Forearms horizontal; LH palm down; RH thumb-side up, R extended fingers are brushed across back of LH, moving from L wrist fingertips and off. See also clean (v.), 1.9, and guilty, 12.3 9. 9 LIE (v., n.) (?) LH palm down, in fist, RH diagonally up left, palm side of R wrist contact with back of LH; maintaining contact, RH is turned several times to face different ways. This sign possibly describes "unsteady gaze". Compare with guard (v., n.), 10.1

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272

Chapter 11 BUTTERFLY

11.1 HIS, HER, HERS (?) Forearm diagonally up forward, palm forward. Direction of execution varies with location of the person referred to (see Part I, section 1.11). See also he, she, 13.1 and my, 21.26, and note, on other personal pronouns. While the sign obviously involves an element of pointing the motivation for the particular hand-shape is unclear. 11.2 COIN [ round shape ] + pay Forearm horizontally forward; RH thumb-side up, thumb and index forming circle, rest of fingers curved. Then 'paying hand' shape is taken. See also pay (v.), 7.4 11. 3 EXCELLENT (popular gesture) R forearm diagonally up due right, palm down, is moved sharply to position diagonally up right, palm forward. 11.4 PROVOKE to sting Right forearm horizontally right, thumb-side up, is moved in sharp jabs to left. 11. 5 NOTHING zero

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Both forearms diagonally up, R due left and L due right; fingertips seem to draw zeros in the air, parallel to body. 11.6 EXACT, EXACTLY, CORRECT, REAL, O.K. "on the dot" Both forearms upright, little-finger sides forward, are lowered till horizontally forward. This sign is also a component in butter, 1. 83 (note) See also correct (adj.), 9.11, and that's right! 15.24 To sign always, a similar movement is made, but with one hand only, palm down. The movement is repeated. 11. 7 ALLOWED (?) Forearms horizontally forward, thumb-sides up, are very slightly lowered as palms are turned to face down. See also permit (v., n.), 2.29 11. 8 LIGHT (v., a match) L forearm horizontal, thumb-side up; R forearm diagonally up, is lowered, tips of touching thumb and index striking tips of touching L thumb and index, and raised slightly to the right. This sign is also a component in candle, 6.16, 12.4 See also light (adj.) clear, 3.15, light (n.), 6.2, and light (weight), 10.16. 11.9 SPLENDID, SPECIAL (outstanding), SPECIALIST (popular gesture) Forearms upright, are turned several times to face in different directions. The popular gesture for 'special' is extended in sign language to 'specialist'. This sign is also a component in living-room, 12.19 (note).

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11.10 DRAFT (v., n.), DRAFTSMAN to draw up Forearms horizontally forward, palms down; upper arms" turn so that forearms are moved horizontally right and then horizontally left. This sign is only used in the sense of 'designing', and not, for example, for 'conscription'. 11.11 SHOP (n.) to lower the shutter on the door Upper arms raised horizontally right, forearms diagonally up forward, palms forward; forearms remaining diagonal, upper arms are lowered; a r m s straighten diagonally down forward. grocery store = kiosk =

+ scale (weight), 5.12, 5.16 or + eat, 17.25 + soda water, 13. 5

11.12 MEASURE (v.) to measure fabric; an armslength R forearm horizontally left, touching tips of thumbs and index fingers of both hands in contact; breaking contact, R arm is straigthened diagonally right. Movement is reversed and repeated. See also fabric, measure, 22. 5 11.13 PAGE (of book) to turn page R forearm horizontally left, RH palm down; tips of R thumb and index in contact with flat upturned L palm; R forearm is moved right, RH turned palm up. 11.14 SENTENCE (legal) scales (symbol of justice) R forearm horizontally left, L forearm diagonally up right, both hands thumb-sides up; position of forearms is reversed, and movement repeated. lawyer is signed by what may be a blend of converse (v.), 17.16, or speak, 17.14, with sentence (legal). 11.14, the hand movement of the latter being directed towards the mouth.

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11.15 WRITE, PENCIL Tips of thumb and index fingers of RH "write" on flat LH, palm up. clerk =

+ work (v., n.), 2. 33

This sign is also a component in copybook, 1.38 (note) and letter, 6. 5 (note), pen, 13. 6, and chalk, 16. 9 (note). 11.16 BY CHANCE (?) LH flat, palm up; R forearm diagonally up left, palm down, lowered till tips of touching thumb and index contact L palm. This sign is used in the sense of, for instance, "it just so happened that I met him . . . " . Note that Yiddish term "punkt" or meaning a point, is used in a similar way. Compare with exactly, 11.6 11.17 NAIL (n.) [shape ]

+ hammer (v., n.), 7. 6

RH palm down, above LH palm up; tips of touching thumbs and index fingers of both hands in contact; RH slightly raised. 11.18 STING (v., n.), THORN to sting LH horizontal, passive, R forearm diagonally up left, both hands palm down; RH Swiftly lowered till tips of R thumb and index fingers prick at back of LH. bee =

+ ftjr(v.), 1.6, 1.24

This sign is also a component in rose (n.), 19.1 (note) 11.19 SEW, TAILOR to sew R forearm horizontally left, thumb-side up, tips of thumbs and index fingers of both hands in contact; RH imitates drawing out needle and thread, appearing to move in circles above and back to LH.

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11.20 WORTHLESS something small LH thumb-side up, RH palm down above it; tips of thumb and index fingers of RH tap thumb-side of end of L index finger. Movement is repeated. See also worthless, 6.15, and note. 11.21 TEAR ( v . , r i p ) LH, thumb-side up, RH palm down, thumbs and fingertips in contact; arms a r e swung out to sides, RH turning thumb-side up. Movement is reversed and repeated. This sign is also used in the sense of 'tearing oneself away', e . g . , leaving a group. 11.22 CHAIN (n.) The circles formed by touching thumbs and index fingers of both hands are interlinked like links in a chain; RH is moved to right and LH raised while opening and closing the 'links' several times. 11.23 CLOCK, WATCH (n.) L forearm horizontal, palm down, hand passive; R forearm horizontally left, thumb-side up; the circle made by RH thumb and index is held against back of L wrist, indicating watch-face.

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14.37 DEMAND ( v . ) LH flat, horizontally forward, both hands thumb-sides up; RH in fist index extended and crooked, its tip taps L palm. To sign why? this sign is made with a questioning facial expression. See also why?, 3. 8 and what for? 6.11 (note) To sign because or therefore a similar sign is made, but with R index fully extended and held against L palm without tapping it. 14.38 SOFT to handle something soft Both right-angled hands, fingers slightly apart, palms up; forearms diagonally up forward; thumbs and fingers meet and separate several times. Compare with cheese, 14.39 14.39 CHEESE soft Both right-angled hands, fingers slightly separated; forearms diagonally up forward, palms down; thumbs and fingers meet and separate several times. Compare with soft, 14. 38 14.40 AGREE Both hands flat, horizontally forward, palms down, their thumbs extended, pointing down; forearms remaining horizontal, hands are moved back slightly, while fingers bend to point vertically down, touching thumbs, forming right-angles with horizontal palms. See also agree, 9. 6 and 10.3 14.41 MILK ( v . , n.) to milk RH flat, LH in fist; both with thumbs extended, thumb-sides up; L forearm horizontally forward, R forearm diagonally up forward; positions and shapes of hands are reversed. 14.42 OLIVE (fruit) Hand in fist, index extended; tip of thumb in contact with thumb-side

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14.48 HANG UP WASHING Upper arms raised horizontally to sides, forearms horizontally, R to left and L to right; hands passive, palms down, thumbs and index fingers of each hand contact aftd separate several times. See also launder, 2.23 14.49 THIN Both hands in fists, tips of thumb and extended index fingers touching, their thumb sides in contact; forearms diagonally up, hands separate. See also thin, 17.19 14. 50 MUCH, MANY (?) Both right-angled-hands, thumbs held parallel to index fingers; both forearms diagonally up forward, palms up; thumbs and index fingers of each hand move close together and apart several times. See also much, 14.15 14.51 MARBLES (game) to "shoot" a marble Hand in fist, thumb-sides up, tip of index pressed against thumb-mail; forearm turns palm up while thumb flicks upright. 14. 52 ERROR, MISTAKE (?) Both hands in fists, thumbs and little-fingers extended, palms facing body, forearms upright, are lowered, parallel to body, till wrists cross, palm side of R wrist touching back of L wrist. See also mistake, 4. 31 14. 53 SENSITIVE "jumpy" RH spread, palm down, middle finger crooked, its tip taps back of passive LH. To sign fine, delicate, this sign is used with an appropriate facial expre ssion.

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14. 54 OPPOSE EACH OTHER, OPPONENT to go against Forearms upright, little-finger sides forward; both hands spread, middle fingers crooked, their tips facing; middle fingers stab at each other. See also oppose ( v . ) , 14.61 14. 55 BALL ( sphere) Hands in loosely clenched fists, thumb-sides up, fingers slightly separated, palms facing one another. 14. 56 GROW ( v., intrans.), PLANT (n.), FRESH (products) to sprout Hand in spoon, forearm diagonally up forward, palm up; thumb touches nail of index; hand opens into claw. This sign may be used to refer to a person's nature or character, e. g., " h e is nervous by nature" . 14. 57 TOW ( v . ) Thumbs and little fingers of both hands extended, rest of fingers interlinked, RH palm down, LH palm up; RH drags LH to right. This sign is used in the sense of "to tow along after someone". 14. 58 CAMERA, PHOTOGRAPH ( v.) to photograph LH in C-fingers, RH index extended and thumb crooked, rest of fingers clenched; tips of thumbs opposite one another; R forearm upright, little-finger side forward; R index crooks. See also photograph ( v . , n.), 14.63 14. 59 FIG Hand in fist, tip of thumb between index and middle fingers. This sign is a common popular gesture, apparently of ancient origin, often used by both deaf and hearing people, in the sense of "I don't care a fig!"

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318 14. 60 EGG to break open an egg Forearms diagonally up, R to left and L to right, thumb-sides up; both hands in spoon, thumbs touching index fingers, R index in contact with L index; contact is broken as forearms are turned palms down. 14. 61 OPPOSE (v.) Forearm upright, palm forward, fingers spread, thumb and middle finger in contact; forearm is lowered till horizontally forward. See also opponent, 14.54 14. 62 FUR, SWEDEN furry LH passive, palm down; RH flat, tips of thumb and index in contact with back of LH; breaking contact, R forearm rises, fingers bunching; movement is reversed and repeated. 14. 63 PHOTOGRAPH ( v . , n.) LH flat, vertically up, little-finger side forward; R forearm diagonally up due left, tips of extended RH index and middle fingers pointing at L index, tip of R thumb pointing at L wrist; palm side of extended R fingers and thumb contact and separate. See also photograph (v.), 14. 58

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320

Chapter 15 HEAD

15.1 SLEEP ( v., n. ) Both hands flat, palms contact; head inclined, R cheek resting on back of LH. See also fast asleep, 22.45 This sign is also a component in hotel, 4. 6 (note) 15. 2 BLESS, BLESSING to extend hands in blessing Both hands flat; forearms diagonally up forward, hands horizontal, palms down. Head is slowly lowered and raised. Used in relation to the ritual blessing of children. 15.3 HAT (fedora) the crease in the peak Little-finger side of flat hand, thumb-side up, in contact with top of head, fingertips pointing back. See also skullcap, 15. 8 and cap, 18.23 15.4 READ Both hands flat, palms up, in contact along little-finger side, forming shape of an open book; head moves to left and right. This sign is also a component in newspaper, 2.28 (note ). 15. 5 COW horns Both hands in fists, their thumb-sides in contact with temples; forearms move forward and down, imitating shape of horns, turning so that palms forward.

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15. 6 SHEEP horns Both hands in fists, their thumb-sides in contact with temples; forea r m s move forward and down, imitating shape of horns, turning so that palms face body. A vocalization in Imitation of bleating may accompany this sign. 15. 7 HISTADRUT (labor federation) the organization's sport's club symbol Both hands in fists; head faces left; R upper arm horizontally right, forearm diagonally up due right, little-finger side up; L a r m extended diagonally down left, thumb-side up. 15. 8 SKULLCAP Spread RH rests palm down on top of head. See also hat, 15. 3 and cap, 18.23 15. 9 DREAM (v. , n. ) to flutter from the mind Tip of index finger of spread RH touches temple; breaking contact, forearm is raised to right while index and middle fingers make alternate fluttering movements. 15.10 GOD heaven Hand in fist, index extended; forearm upright; little-finger side f o r ward; head is bent back, looking up. 15.11 JORDAN ( country ) spiked cap Hand in fist, index extended vertically up; thumb-side of wrist in contact with top of head. Jordanian soldiers used to have spikes on their caps.

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15.12 NO, NOT (popular gesture) Hand in fist, index extended; forearm diagonally up due left, palm down; hand is moved to right while head turns to left. This sign, performed more emphatically, is used for forbid. See also cannot, 15. 22 (note). 15.13 WORRY ( v . , n.) to bore into the mind Hand in fist, tip of extended index finger in contact with temples; maintaining contact, forearm turns from side as though boring a hole. An anxious expression accompanies this sign. 15.14 INSANE twisted mind Hand in fist, index extended, pointing at temple, draws small vertical circles parallel to it. This is a familiar popular gesture in spoken language, often accompanying or denoting concepts such as "to have a screw loose", or the Hebrew equivalent "to have a screw missing". 15.15 DRUNK ( a d j . ) dizzy

(+ drink, 22.21)

Hand in fist, tip of extended index in contact with temple, forearm is moved upright; both forearm and head make circles. 15.16 DONKEY donkey's ears Both hands in fists, index fingers extended vertically up; thumbsides of fists in contact with sides of head; index fingers are bent and straightened.

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15.17 SOMETIMES "here and there" Both hands in fists, index fingers extended; forearms diagonally up forward, palms down; RH vertically up, both diagonally down f o r ward. Position of hands is reversed while head inclines f i r s t to right, then to left. 15.18 KING crown Clawed hand, palm down, is lowered onto top of head. 15.19 BARBER, HAIRDRESSER, CUT HAIR to cut hair Hand in fist, index and middle fingers spread, palm side in contact with back of head; spread fingers open and close several times. This sign is similar to scissors, 10. 6 Ladies' hairdresser can also be signed by imitating action of putting rollers in hair. 15.20 CAN, ABLE, POSSIBLE (?) RH in fist, index and middle fingers spread, thumb-side up; f o r e arm diagonally up forward is lowered till horizontal, due left, while head inclines forward slightly. This sign is a variant of can, 10.12 See also cannot, 15. 22 15.21 RABBIT rabbit's ears Both hands in fists, index and middle fingers extended, vertically up; little-finger sides of wrists in contact with temples; extended fingers are bent and straightened. Movement is repeated. 15.22 CANNOT, IMPOSSIBLE (blend) Both hands in fists, index and middle fingers spread, thumb-sides up, Brought to you by | provisional account Unauthenticated Download Date | 1/7/20 1:24 PM

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forearms diagonally up, R to right and L to left, are lowered inward till palms cross in front of chest and return to former position while head is shaken. This sign seems to be a blend of can, 10.12 and no, not, which is often performed by a headshake. Similarly the headshake may a c company other gestures to indicate negation. See also no, not, 15.12 15. 23 BEG, BEGGAR, ALMS to beg Hand in spoon, palm up, horizontally forward; head is cocked to right. 15. 24 YES, THAT'S RIGHT! (?) Forearm diagonally up forward, palm down; hands in fist, thumb and little-finger extended; forearm turns so that thumb points up, while head bends forward. In the Danish sign language, yes ( j a ) is performed similarly, except that the thumb is not extended; it is apparently based on the fingerspelled letter ']'. See also correct, O. K., 11. 6 15.25 NOT YET (?) Tips of bunched fingers of RH tap upturned flat L palm, while head turns from side to side. See also already, 1. 64 Compare for, 6.11 15.26 HORNS Tips of bunched fingers of both hands in contact with temples, are moved forward slightly. 15.27 SECRETARY a pencil behind the ear Hand in butterfly; tips of touching thumb and index draw a pencil, brushing backwards over ear from temple. Brought to you by | provisional account Unauthenticated Download Date | 1/7/20 1:24 PM

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15.28 SURPRISE (n. ), SHOCK ( n . ) a blow on the head Upper arm raised horizontally, forearm upright; head is bent to left as paying hand is brought sharply toward it, palm facing it. 15.29 WIND (n.) blowing of the wind Forearms upright, little-finger sides forward, hands passive; head is bent to side; upper arm turns so that forearms become horizontal, R due left and L due right; hands flopping; meanwhile head is bent from side to side. Movement is repeated.

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344 This sign seems to describe movements made while praying at the Wall. 17.5 TELL, STORY from the mouth Hands flat, horizontal, thumb-sides up, fingertips in contact with corners of mouth; breaking contact, forearms are turned so that palms forward. Movement is reversed and repeated. Signs for concepts related to specific organs ( e . g., speech, sight or hearing) are executed near these organs. A similar principle operates regarding cognitive concepts. (See first note to sign no. 18.2). Similarly, signs for emotive concepts are often associated with the body. (See e. g., want (v.), 21. 5, sad, 21. 7 and 22. 37, afraid, 21. 9, and other signs in Chapter 11.) See, too, Part I, section 1.6. See also say, 17.14, and converse ( v.), 17.16. 17.6 FOX, WOLF snout Spread hand, palm facing mouth, is lowered forward slightly while fingers bunch. 17. 7 TRUMPET (n.), BLOW TRUMPET to blow a trumpet Both hands in fists, thumb-side of RH in contact with left corner of mouth; L forearm diagonally up forward, thumb-side up. See also Shofar, 17.17 and 17. 22 17. 8 CARROT to eat a carrot RH in fist, its thumb-side facing right corner of open mouth; forearm turns so that palm faces mouth, and back again, while mouth closes. Movement is repeated. 17. 9 TASTE (n.) in the mouth RH in fist, index extended, vertically up, its end segment in contact with right corner of pursed mouth.

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346 See also tasty, 22.62 17.10 QUIET! sealed lips Hand in fist, index extended, vertically up, its thumb-side in contact with center of pursed lips, as in the popular gesture. Note that this sign is only used as a request or command, not as an adjective. 17.11 DOG to call a dog Paying hand, forearm diagonally down, thumb-side up. Mouth is pursed. A vocalization, smacking of the lips or clicking of the tongue, as in calling an animal, accompanies this sign. See also dog, 22.12 17.12 RED lips RH in fist, index extended, horizontal, its thumb-side in contact with lips, is drawn horizontally across lips to right. pink =

+ light (adj.), clear, 3.15

This sign is also a component in tomato, 8. 5, copper, 9.12 (note) and blood, 14.36. 17.13 SWEET (adj.) on the mouth Hand in fist, index extended, pointing up, its thumb-side in contact with center of mouth; upper arm is lowered slightly so that index slides down toward chin. honey =

+ sting ( v., n.), 11.18

This sign is also a component in jam (preserves), 1. 83 (note). 17.14 SAY, SPEAK from the mouth

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Hand in fist, horizontal, palm down, index extended, its thumb-side in contact with mouth; breaking contact, index appears to inscribe a small vertical circle at right-angles to the body, returning to contact mouth. See f i r s t note to sign no. 17. 5 See also tell, 17. 5 and converse (v.), 17.16 17.15 SING, SONG from the mouth Forearm diagonally up, due left; hand in fist, index extended, palm side facing mouth, is moved in a wide semi-circle forward, to a position diagonally up right. Mouth opens and closes. Movement is reversed and repeated several times. See first note to sign no. 17. 5 See also sing (in choir), 4.22 17.16 CONVERSE (v.), CONVERSATION, DIALOGUE two speakers Both hands in fists, index fingers extended; thumb-side of R index in contact with mouth; thumb-side of L extended index opposite mouth; relative positions of hands reversed. This sequence is repeated several times. See also tell, 17. 5, and say, 17.14 17.17 SHOFAR to blow the Shofar RH in fist, its thumb-side in contact with right side of mouth. A Shofar is a r a m ' s horn, blown during certain Jewish festivals. See also Shofar, 17. 22, and trumpet (n.), 17. 7 17.18 SWALLOW ( v.) Hand in spoon, upright, palm facing open mouth; forearm and wrist bend toward mouth, which closes and opens. 17.19 THIN Hand in fist, little finger extended; forearm upright, little-finger

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398

Chapter 22 MISCELLANEOUS

22.1 BUT (popular gesture) Hand in fist, index extended, little-finger side forward, forearm upright, is sharply lowered forward slightly; closed eyes are opened wide. Hearing persons probably use this gesture not as a substitute for a word, but rather, accompanying speech. 22.2 WHO? to look for someone Forearm diagonally up forward, hand upright, in fist, index extended, palm forward; forearm turns several times to face different ways, while eyes open wide. 22.3 OBSERVER to view through binoculars C-hand, thumb-side in contact with face around eye. Hand moves slightly forward. This sign may be used to describe an observer at a conference. Compare with view (n.), 18.4 (note) 22.4 BLIND (adj.) closed eyes Hands in fists, index and middle fingers extended, touching eyelids, are slid slightly down cheeks. 22.5 FABRIC, MEASURE FABRIC, METER (measurement), A LENGTH OF FABRIC to measure a fabric L forearm diagonally up; both hands in butterfly, tips of touching Brought to you by | provisional account Unauthenticated Download Date | 1/7/20 1:24 PM

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400 hands in thumbs and index fingers in contact with one another; breaking contact RH is raised so that tips of its touching thumb and index contact L shoulder. See also measure (v,), 11.12 fabric can also be signed by indicating the feel of the cloth between index and thumb. 22. 6 POSTAGE STAMP, PUT STAMP ON, BANK, POST-OFFICE to stick on a stamp Hand in fist, index and middle fingers extended, their tips touching tongue, hit palm of upturned flat LH. post-office and bank may also be signed in a similar way, but with RH in fist, thumbs extended. 22. 7 VACATION, LEASURE (popular gesture) Upper arms are raised horizontally to sides; hands in fists, thumbs and index fingers extended, tips of thumbs under armpits; elbows are lowered to sides. See also rest, ( v . , n.), 22.18 22. 8 POCKET (n.) Palm of flat hand against hip, is slid down over pocket and up again. The location of this sign varies according to location of the pocket referred to. 22. 9 WOMAN, GIRL, FEMALE earring Hand in fist, little-finger side forward, thumb and index pinch earlobe lightly. This sign is combined with other signs to indicate gender. See, e. g . , girl (child), 1 . 1 (note), nurse (n.), 18.10 (note), grandmother, 20.14 (note). 22.10 TELEPHONE ( v . , n.) Hand in fist, palm side held to ear. As in spoken language, 'telephone' in place of toilet is a commonly Brought to you by | provisional account Unauthenticated Download Date | 1/7/20 1:24 PM

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402

used euphemism in sign language. 22.11 RADIO earphones + dials Clawed hand, palm facing ear; forearm turns clockwise, then counterclockwise. Then, both forearms horizontally forward, hands clawed, diagonally up, turn from side to side. See also television, 3.10 22.12 DOG to call a dog Palms of both flat hands pat things. A vocalization, a smacking of the lips or clicking of the tongue, as in calling a dog or cat, accompanies this sign. See also dog, 17.11 22.13 HUNGRY stomach Flat hand, horizontal, thumb-side in contact with center of stomach, is slid to left and back. 22.14 BORN, BEAR ( v . , a child), SON, DAUGHTER from the belly Palms of both flat hands against sides of belly, are slid up and, breaking contact, moved forward and out to sides, turning so that palms face up. This sign is also a component in Bethlehem, 4. 2 (note) To distinguish between ' son' and 'daughter' the sign for male, 18.16 or female, 22. 9, may be added. 22.15 BALCONY, PORCH to lean on the railings Both hands in fists, palms down; R forearm horizontal, parallel to body, rests on L forearm. Body is inclined forward slightly, head erect.

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404 22.16 GOOSE to walk like a goose F o r e a r m s diagonally down forward, both hands spread, horizontally forward, p a l m s down; upper trunk rocks f r o m side to side while head is held e r e c t . 22.17 MOSQUE to bow in p r a y e r

+ Arab, (n. a d j . ) , 19.10

R upper a r m r a i s e d horizontally right; f o r e a r m upright, flat hand, palm forward, thumb extended, its tip in contact with side of head, maintaining contact, upper body bends forward. 22.18 REST ( v . , n. ), BE RELAXED, BE COMFORTABLE to sit back, relax Both hands in fists, thumbs and index f i n g e r s extended; tips of thumbs in contact with sides of upper chest, a r e slid down toward waist while head tilts to side. See also f i r s t note to sign no. 21.17 See also holyday ( festival ), 21.4, and holiday, vacation, 22.7 22.19 WHISPER RH in spoon, fingertips pointing up, thumb-side in contact with right side of pursed mouth; head is bent forward. See also s e c r e t ( v . , n. ), 17.38 22. 20 SLY ( popular g e s t u r e ) RH in butterfly, little-finger side forward, f o r e a r m upright, turns so palm f o r w a r d ; head is inclined to left side; c o r n e r s of mouth a r e drawn down. Movement is reversed and repeated. See also sl£, 17. 27 22. 21 DRINK ( v . , n. ) Hand in fist, palm facing left, thumb extended, its tip raised to closed mouth, a s head is thrown back slightly.

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406 This sign is also a component in drunk (adj.), 15.15 Compare with water (n. drinking water), 17.24 To sign hashish, this sign is performed, putting tips of thumb in open mouth. 22.22 DOUBT (v., n.), UNCERTAIN to waver Forearms diagonally up left, parallel; both hands flat, RH palm down, LH palm up; forearms are swung round till diagonally up right and back to former position. Head is tilted to left side; corners of mouth are drawn down. 22. 23 NEGRO, AFRICA black face Spread hand, palm toward face, fingertips pointing up, is moved in a vertical circle parallel to face; mouth is pursed. This sign may be a blend of black, 1.17 and 'face'. 22. 24 LAUGH, FUNNY dimples Hand in fist, index extended, little-finger side up, its tip pressed against cheek; maintaining contact, forearm turns several times to face different ways; mouth is smiling. See also amuse, 10.13 22.25 UGLY ugly face Right-angled hand, thumb-side forward; chin rests in hollow between thumb and fingers; maintaining contact, hand slides down chin until thumb and index meet; corners of mouth are drawn down. An expression of distaste accompanies this sign. This sign is used in a general sense, to refer to anything ugly, not necessarily a person. The same sign, made with an agreeable facial expression, means beautiful.

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408 22.26 HOT, TIBERIAS (city) to taste hot food Clawed hand, palm facing mouth, fingertips lightly touching cheeks around mouth; breaking contact, hand is lowered forward slightly, turning palm forward. An exhalation of breath through the mouth is made into the palm, before the hand turns. The city of Tiberias is famous for its hot medicinal springs, and is very hot in summer. The sign is also used to refer to a mother's protective love for her children, perhaps because of its association with hot breath. See also hot, 18.17 22.27 BLANKET to draw up a blanket Both hands flat; L forearm horizontally right, palm down; R palm in contact with back of LH; LH holds R thumb; maintaining contact, and remaining horizontal, hands are raised so that thumb-side opposite center of L shoulder. 22.28 ARROGANT nose in the air Hand in fist, horizontal, due left, index extended, its back in contact with base of nose; head is tilted forward; maintaining contact head straightens. Compare with humble, 22.29 22.29 HUMBLE to lower Hand in fist, horizontal, due left, index extended, its palm-side in contact with end of nose; maintaining contact, head bends forward. Compare with arrogant, 22.28 22. 30 INQUISITIVE nosy Head inclined forward; hand in butterfly, thumb-side up, tips of Brought to you by | provisional account Unauthenticated Download Date | 1/7/20 1:24 PM

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430

23.16 ONE WEEK Forearm upright, little-finger side forward; paying hand appears to inscribe a small clockwise oblique circle while index extends to point up. This sign is composed of week, 7.2, and one, 23.1 See also two weeks, 23. IV 23.17 TWO WEEKS Forearm upright, little-finger side forward; paying hand, inscribes a small clockwise oblique circle, while index and middle fingers extend to point up. This sign is composed of week, 7. 2, and two, 23.2. To sign three weeks, thumb, index and middle fingers are extended. A similar principle is involved in signing two days (see day, 4. 29), two months (see month, 23.18), two years ( see year, 23.19), etc. See also two hours, 4. 36 (note) 23.18 MONTH, ONE MONTH to tear a page off the calendar E forearm horizontal, diagonally left, palm down; RH in fist, index extended, its palm side rubs along palm of upturned flat LH, from fingertips toward wrist, movement is reversed and repeated. Compare this with date (time), 14.33 For two months, see two weeks, 23.17 (note). 23.19 YEAR, ONE YEAR Hand in fist, thumb-side up, index extended, its tip in contact with tooth; breaking contact, hand draws a vertical, clockwise circle, ending near mouth. This sign is based on a circle, combined with the sign for one, 23.1. The Hebrew word for "year" ("shannah") resembles that for "tooth" ("shen"); probably the touching of the tooth derives from this similarity. For two years, etc., see two weeks, 23.17 (note). 23. 20 FIRST Forearm diagonally up forward, hand in fist, thumb extended, palm down; turns so that thumb points up. Brought to you by | provisional account Unauthenticated Download Date | 1/7/20 1:24 PM

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432

23.21 SECOND (ordinal number) Forearm diagonally up forward, palm down; hand in fist, index and middle fingers spread; forearm turns so that thumb-side up. The same principle operates for third, fourth, and fifth, the appropriate number of fingers being spread. 23.22 ONCE (one time) R forearm horizontally left, thumb-side up; RH in fist, index extended, its tip in contact with palm side of flat LH; maintaining contact, R index slides toward L wrist, and off.

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P A R T IV ENGLISH-TO-SIGN SECTION

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437

Readers should consult Part I, section 3. 0; USING THE DICTIONARY, pages 34-42, and especially sub-section 3 . 3 : Arrangement of the English-to-Slgn section.

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439 able ( v. ) 10.12; absorb ( information ) accident ( road ) accompany acquainted, familiar act ( v., In theater ) activity actor add up add on addition in addition to additional address adult advantage afraid Africa after again and again against (oppose) age agenda agree 9.6, 10.3, agreement ( n., contract ) aid ( v., n. ) air (n. ) airplane alike alive all (total) allowed almost alms alone already always ambassador America, U. S. A. amuse ancient and angry 8.4, 21.17, be angry with annoy another answer ( v., n. ) apple approach ( v. ) appropriate ( adj. ), suitable Arab ( n., adj. ) arithmetic arm arrogant ascend, climb up ashamed ask aspire

15.20 14. 27 2.19 13. 9 18.2 21.19 2.11 21.19 3.25 6. 12 1.8 6.12 14.12 16.18 21. 28 21. 9 22. 23 14.9 14.3 14.61 16.20 1.69 14.40 2.29 1.42 1. 23 1.6 4. 25 21. 25 3.24 11.7 3.8 15.23 21.38 1.64 11.6 22. 32 16.2 10.13 20.14 6.12 21.18 14.56 4.41 4.26 17.33

( note )

( note )

( note ) ( note )

( note )

( note )

( note )

17.32 14.24 4.24 19.10 3.25 appendix 22.28 10.10 16.15 17.26 18.9

astonished, be stunned at least at once attempt, try aunt automatic avoid awake 21.10, award (n.) awful, terrible baby bachelor back (body part) back and forth backwards bad bag ( n . ) baking oven balcony ball (party) ball (sphere) bank bankcheck banknote barber barrier base (adj.) basket bear (n.) bear (v., a child) beard beat (v.) beautiful because bed bee beer before (time) beg beggar beginning behave behind Belgium believe belittle besides Bethlehem better between bicycle big bird black blanket bless ( v.) blessing blind (adj.) blinds (shutters)

22.41 1.3 4.44 19.8 4.42 4.38 12.12 22.63 21.20 22.59

(note)

1.100 21.32 appendix 4.7 1.11 20.10 appendix 2.6 22.15 14.19 14.55 22.6 12.14 (note) 12.14 (note) 15.19 1.103 19.3 appendix 21.14 22.14 appendix appendix 22.25 (note) 14.37 (note) 1. 26 11.18 (note) 7.24 1.20, 14.10 15.23 15. 23 1. 78 22.44 1. 11 14.5 18.3 2. 25, 7.16 1. 8 4.2 ( note ) 17.44 1.99 2.42 ( note ) 1.1 1.24 1.17 22.27 15.2 15.2 22.4 9.18

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440 blood blow trumpet blue board (n.) boat, rowboat body parts boil ( v . ) bomb (v., n. ) bon appetit! book bookshelves boots border (n., boundary) bored boring born borrow bottle ( n . ) boundary, border box (n., container) boy, child boyfriend brave bread break ( v . ) break (n.), intermission brief be brief bright bring up, rear (v.) broken brother 4.27, brown 2.24, brush ( v . ) build building (n.) bungalow bury bus busy but butter button (n.) buy café 2.24 (note), cake calculation call, shout (v., n.) calm (adj.) calm (v.) calm down (v., intrans.) camera can (v.) 10.12, cancel candidate candle 6.16, cannon cannot cap (sport's) capture car car crash, road accident cards (playing) play cards (v.) carpenter carpet

14.36 17.7 9.2 3.33 2.15 appendix 8.20

2.18 14.26 1,38 1.18 7. 28 (note) 1. 87 20.13 20.13 22.14 5.7 14.46 1. 87 1.54 1.1 (note) 13. 9 2.1 1.102 2^21 9.4 4.21 3.15 14.21 2.21 4.28 20.15 appendix 1.55 1.55 1.35 (note) 1.32 2.43 (note) 2.33 22.1 1.83 (note) 21.29 7.22 10.26 8.13 3.25 17.23 3.21 1.67 3.21 14.58 15.20 4.43 2.22 12.4 4.8 15.22 18.23 8.8 2.43 2.19 14.44 7.18 2.41 1.41

(note) (note)

(note) (note)

carriage 7.11 (note) 17.8 carrot carry appendix case (n.), box 1.54 cash pool (kitty) 6.13 cat 17.27 catch (v.) 3.5, 3.7 21. 6 catch cold 1. 30 ceiling 13.7 (note) cement 8.13 center 1. 66 center, middle 2.5 certain 11. 22 chain (n.) 1.36 chair (n.) 16.9 (note) chalk chance 11.16 by chance 4.48 change 14. 56 (note) character, by nature 1. 63 cheap, inexpensive 14.32 cheating 12.14 ( note ) check, bankcheck 19.3 cheeky, impudent 14.39 cheese 12. 20 chemist (pharmacist) 17.43 chicken 13.4 chief, principal (n.) 1.1 (note) child 12.14 chocolate bar 4.22 choir 12.7 choose 4.2 Christian appendix cigarette 4.34 circumcision 14.1 city 9. 8 clean (adj.) 1.9 clean (v.) 3.15 clear 14.20 clear (simple) 11.15 ( note ) clerk 1.84 ( note ) clever, sharp-witted 9.15 climb (v.) climb down 10.11 climb up 10.10 clock 11. 23 4. 36 ( note ) o'clock 1.37 ( note ) close (v.) 7.1 close (v.), lock 1. 48 closet 22. 5 cloth, fabric appendix clothes 6.10 club (organization) 7.13 club member 22.43 coat 1.101 cocoa coffee 2.24, 10. 26 11.2 coin cold (adj.) 2. 9 cold (n.) catch cold 21.6 collide 2.19 collision 2.19 color (v.) 1.10 color (v., n.) 1.75 comb (v., n.) 22.31 come 4.10 come here! 4.12

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441 comfortable be comfortable command (v., n.) commerce 1.45, committee complain conduct (orchestra) conference, meeting confess confusion conquer constitution contacts (social, business) contract (n.) conversation converse (v.) cook (v.) cooking gas cooking pot cooperate cooperative (n., adj.) copper copy, imitate copybook corner (n.) correct (adj.) 9.11, counsellor couple courage, brave cousin cover (v., n.) cow crafty, sly 17. 27, crazy, insane criminal (n.) criticism criticize crook, criminal crowded cry ( v., weep) cry ( v., shout) culture cup (n.) cupboard, closet curious, inquisitive curtain cut (v.) cut hair daily dance, party danger dangerous date (fruit) date (time) daughter day day before yesterday dead deaf ( n . , adj.) dear, expensive debt deep delicate demand demonstrate (v., present)

22.18 4.4 7.26 12.17 2.37 4.22 12.12 21.2 3.37 3.7 1.69 7.14 2.29 (note ) 17.16 17.16 8.20 4.20 ( note ) 22.42 7.25 7.25 9.12 (note) 14.32 1.38 (note) 1.52 11.6 14.29 14.16 2.1 4.42 (note) appendix 15.5 22.20 15.14 16.21 3.32 3.32 16.21 3.36 16.7 17.23 3.15 (note) 17.41 1.48 22.30 7.15 1.88 15.19 16.10 14.19 21.13 21.13 14.42 14.33 22.14 4.29 16.12 1.22 22.38 7.7 20.6 4.15 14.53 14.37 4.37

(note)

design ( v. ), draft ( v. ) detective dialogue diamond dictionary die ( v. ) different, other difficult diligent dinner diplomat directions director dirty disagree disappear disappoint disappointment discharge ( v., dismiss ) discover, find 3.6, discriminate (against) dismiss (from employment) distant, far disturb, Interfere doctor dog i t . 11, donkey door doubt ( v., n. ) doubtful, uncertain draft ( v., n. ) draftsman dreadful, terrible dream ( v., n. ) dress ( n. ) dress (v.) drink ( v., n. ) drive (v.) driver drunk ( adj. ) dumb, mute dummy, pacifier duly (obligation)

11.10 20. 9 17.16 14.5 4.48 (note) 1.22 4.26 2.10 18.20 17.35 22.32 appendix 13.4 19.6 9. 6 ( note ) 3.19 19.7 19.7 2.32 14.31 16.19 2. 32 4.13 10. 23 14.28 22.12 15.16 2.8 22.22 22.22 11.10 11.10 22.59 15. 9 21.12 21.12 (note) 22.21 2.43 2.43 15.15 17.1 17.21 4.4

each one eagle early earn eat education effort egg Egypt Egyptian eight eight o'clock, hours, days, weeks, etc. elect elections electric electric current 4, 20, elephant empty end ( v . , n. ) 1.40, endorse endorsement engine, motor England

4.18 19.5 14.10 5.9 17.25 7.8 2.11 14.60 22.49 22.49 23.8 introduction to Ch. 23 14.31 (note) 14.31 (note) 10.21 10.21 19.4 1.68 1.70 2.29 2.29 2.40 20.4

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442 English 20.4 enough 20.11 enter 1.19 envelope 6.5 (note) equal 1.39, 1.50 erase 7.17 eraser 7.17 error 14.52 4.31, escape 4.45 Europe 3.12 even (adverb) 22.40 even if 22.40 evening 1.28 every day 16.10 everyone 1.49, 4.18 evidencfe 1.94, 14.17 (note) ) exact 11.6 exactly 11.6 examination (medical)i 21.31 example 14.8 excellent 11.3 exchange ( v , , n.) 4.48 excuse me! 1.60 exhibit (n.) 1.5 expel 1.13 expensive 7.7 experiment 19.8 explosion 2.18 export ( v . , n.) 9.14 eyeglasses appendix fabric factory faith, faithful fall ( v . ) fall asleep familiar family fan ( v . , n.) far fast ( v., n.) fast (quick) 4.41, fat (adj.) father faucet fear, afraid fee(s) feed ( v . , nurse (v.)) feel feeling female fence (n.) festival, holiday few, a few 14.45, fifth (ordinal, number) fig fight, war ( v . , n.) film, movie find ( v . ) 3.6, fine (adj.) finish 1.40, fire (v.), dismiss (v.) first fish (n.) fish (v.) fisherman five

22.5 10.28 18.3 10.9 22.45 18.2 1.46 7.5 4.13 16.23 14.14 3.16 22.33 8.2 21.9 18.17 14.21 3.34 3.34 22. 9 3.20 21.4 20.18 23.21 14.59 14.13 3.10 14.31 14.53 1. 70 2.32 23.20 1. 76 7.23 7.23 23.5

(note) (note)

(note)'

(note) (note) (note )

introduction five o'clock, hours, days, weeks etc., to Ch. 23 1.57 fixed, permanent flag 1.72 floor appendix flour 5.15 (note) flower 19.1 3.11 flowing water fly(n.) 1. 86 fly ( v . ) 1. 6, 1.24 13.10 follow 17.25 food foot appendix football, soccer 2.26 for (for the purpose of) 6.11 for, because 14.37 (note) 15.12 (note) forbid forest 3.39 18.15 forget forgive (v.) 1.60 forgive me! excuse me! 1.60 fork (n., cutlery) 17.36 fortnight, two weeks 23.17 four 23.4 four o'clock, hours, days, introduction weeks, etc. to Ch. 23 fourth (ordinal, number) 23.21 (note) 17.6 fox France 18.6 freedom 2.14 fresh (products) 14.56 friend 1.95 friendship 1.95 21.9 fright frog 10.19 fruit appendix full 1. 56 1.32 funeral funny 22.24 fur 14.62 future 16.3 in the future gain gardener garlic gas-stove gas (for cooking) gather gathering (n.) gay, happy German Germany get, receive get lost get up gift giraffe girl, child girlfriend give give in give present glad, happy glass glasses, eyeglasses glitter

21.28 7.19 (note) 19.2 7.10 4. 20 (note ) 5.6, 5.8 8.6 21.39 14. 34 14.34 21.1 3.19 1. 25, 10.25 1.29, 1.59 20.5 1.1 (note) 13.9 1.59 1.21 1.29 21.39 8.15 appendix 14.2

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443 glue ( v . , n.) go up go, walk God gold good goose govern government Government office grandfather grandmother grapefruit grasp (v. understand) grate (v.) gray greedy green green pepper grenade grey grocery store ground, floor group ( v . , n.) grow ( v . , intrans.) guard ( v . , n.) guest guide ( v . , n.) guilty

22.34 14.7 10.8 15.10 14.2 6.1 22.16 2.12 1. 96 21.37 20.14 (note) 20.14 (note) 8.10 3.5 2.27 18.19 22.36 20.19 8.12 22.39 18.19 11.11 (note) appendix 12.13 14.56 10.1 1.93 14.29 12.3

habit Haifa ( city ) hair hairdresser half 1.80, halve hammer (v., n.) handkerchief handgrenade, grenade hang up washing happy hard hard, difficult harvest (v.) hashish hat (fedora) hate have he head, director healthy hear hearing person heart hearty appetite! bon appetit! heavy Hebrew hello help ( v., n.) hen her (pers. pron.) her(s) (poss. pron.) here Heruth (political party) hide ( v . ) high high school

10.24 18.4 appendix 15.19 4.40 1.66 7.6 appendix 22.39 14.48 21.39 2.31 2.10 7.21 22.24 (note) 15.3 3.3 21.26 (note) 13.1 13.4 2.5 (note) 22.50 22.50 appendix 14.26 21.30 20.16 18.1 1.42 17.43 13.1 11.1 4.5 12.1 16.5 4.14 2.30

hill him his 11.1, Histadrut (labor federation) history hit, strike (v.) hold (v.) hole holiday, vacation holy holyday (festival) honey honor (v., n.) horns horse hosepipe, watering hose hospital 10.27, hot 18.17, hotel hour house how? hug humble hundred, one hundred hundred-and-one hungry hut, shed hypocrite I ice cream idea if ill, sick imagination imitate imitation immigrant immigrate impertinence, impudence import (v., n.) important impossible impotent (sexually) imprisoned impudence Impudent in addition to independent, Independence Industrious; to make an effort inexpensive influence (v., n.) be influenced inform, notify Inject, injection innocent inquisitive insane inside insulted ( adj.) insurance

1.16 13.1 21.26

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15.7 20.14 appendix appendix 4.35 22.7 21.8 21.4 17.13 (i 18.22 15.26 7.11 7.19 18.18 22.26 4.6 4.36 1.35 3.8 3.23 22.29 23.13 23.13 22.13 1.35 16.4

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13.1 (1 22. 35 22.56 3.40 9.3 18.8 14.32 14.32 5.14 5.14 19.3 14.6 22.48 15.22 4.3 2.20 19.3 19.3 1.8 21.38 2.13 1.63 3.28 3.29 18.12 appendix 9.8 22.30 15.14 1.61 21.36 2. 5

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444 Intent be intent on 18.9 interesting 22. 52 10.23 interfere intermission 9.4 international 9.16 interview ( v . , n.) 17.28 16.3 in the future invent 22.56 1.93 invite iron (metal) 9.12 iron ( v . , n., pressing iron) 2.7 Israel 20.16 Israeli 20.16 itinerary 1.69 jam (preserves) jar ( n . ) jealous jelly, jam Jerusalem Jew joke ( v . , n.) Jordan (country) journey, travel juice jump ( v . ) just ( a d j . ) just a minute! justice keep from kerosene key kibbutz kill kilogram king kiosk kiss ( v . , n.) kitchen kitty, cash pool kneel knit knitting needles know laboratory worker ladder last ( v . ) late later on, in the future laugh launder law lawyer lazy lead ( v . ) leaf lean, thin leap, jump learn least, at least leave ( v . ) Lebanon (country) lecture ( v . , n.) left (direction) leisure

1.83 8.19 21.11 1.83 17.2 20.16 10.13 15.11 16.13 14.47 10.14 9.11 6.4 9.11

( note)

(note) (note)

12.12 19.9 7.3 (note) 8.21 20.7 5.16 15.18 11.11 (note) 2.39, 6.9 12.19 (note) 6.13 appendix 4.46 4.46 18.2 12. 20 14.11 4.39 14. 9 16.3 22.24 2.23 1.69 11.14 (note) 4.23 14.29 14.18 17.19 10.14 18.11 1.3 11.12 3.13 17.28 appendix 22.7

lemon lend length of fabric less letter library (lending) library (personal) lid lie ( v . , n.) lie down life light (weight) light (adj.), clear light ( n . ) light a match light-bulb lightning like (prep., similar) like ( v., be fond o f ) line lion lips list ( v . , n.) listen Uttle (small) a little 14.45, live (adj.) live ( v . ) living room loan lock ( v . ) locked ( a d j . ) long ago look for, seek lose ( v . ) 3.14 lost, get lost lottery lottery ticket love ( v . , n.) love-making loyal luck lucky

8.5 (note) 5.7 22.5 1.3 6.5 (note) 4.48 (note) 1.18 22.42 (note) 9.9 10.6 21.25 10.16 3.15 6.2 11.8 6.3 4.16 4.25 22.60 appendix 17.30 appendix 6.14 22.50 1.1 20.18 21.25 21.25 12.19 (note) 5.7 7.1 7.1 1.20 (note) 10.17 4.33 3.19 3.26 3.26 "(note) 21.34 6.17 (note) 18.3 1.62 1.62

machine-gun mad, insane magician magnet mail, post-office majority male man manager, director many marbles (game) margarine married ( a d j . ) maximum may, can 10.12, me meal mean, base (adj.) measure ( v . ) 11.12, medal medicine meet meeting (conference) member (of club)

14.23 15.14 3.38 10.22 22.6 20.3 (note) 18.16 18.16 13.4 14.15 14. 51 1. 83 (note) 14.30 2.34 15.12 13.1 (note ) 17.35 19.3 22.5 21.20 17.29 10.5 20.12 7.13

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445 memory mend, repair meter (measurement) metal middle milk ( v . , n.) million, one million mind (n.) mine (poss. pron.) minority minute just a minute! mirror (n.) miser mistake 4.31, mock (v.) money monkey month moon (n.) more 1.7, moreover, besides morning mosque mother motor mountain mourn movie movie projector much 14.15, mud municipality mushroom must, duty mute my myself

18.21 7.20 22.5 9.12 1.66 14.41 23.15 appendix 21. 26 20.18

nail ( n . ) name (n.) narrow nature (aperson's) naughty Nazi near neck Negro neighbour net (n.) never new news newspaper nice night nine nine o'clock, hours. days, weeks etc. no 15.12, nonsense noon not 15.12, notebook nothing notified (adj.) notify -not yet

11.17 16.8 1.33 14.56 (note) 2.17 1.2 9.7 appendix 22.23 9.7 (note) 3.18 17.20 5.11 5.11 2.28 (note) 16.1 1.28 23.9 introduction to Ch. 23 15.22 (note) 17.45 16.23 15.22 (note) 1.38 (note) 11.5 22.47 18.12 15.25

6.4 22. 51 8.7 14.52 10.13 7.4 22. 58 23.18 12.18 9.13 1.8 1.27 22.17 16.14 2.40 1.16 21.7 3.10 2.35 14.50 3.31 21.37 4.1 4.4 17.1 21.26 21.26

now nurse (n.) nurse ( v., n. )

(note)

(note)

4.5, 14.4 18.10 14.21

oars oath take an oath observer occupation (profession) o'clock odor oil (edible) O.K. old 20.14, how old? olive (fruit) on 1. 92, once (previously) once (one time) at once one one o'clock, hour. day, week , etc. only open ( v . , adj.) open (v.), unlock opponent oppose (v.) or 2. 38, orange (color) orange (fruit) order (something from someone) organise (v.) other our(s) oven owe pacifier (baby's) page (of book) pain 21.22, paint (v.) 1.10, paint (v., n.) pair pan, cooking pot parade, procession party (ball) past (time) paste, glue patience patient pay ( v . ) pay cash payments pear peel ( v.) pen pencil pepper (vegetable) perhaps permanent permit ( v . , n.) permitted person hearing person perspire petting

2.15 9.1 22.3 1.73 4.36 (note) 19.11 13.7 11.6 22. 55 16.20 (note) 14.42 5.4 1.20 23.22 4.44 23.1 introduction to Ch. 23 22.46 1.37 7.3 14.54 14.61 3.35 16.17 8.5 (note ) 4.6 1.98 4.26 21.26 2.6 20.6 17.21 11.13 21.33 1.75 1.75 14.16 22.42 10.29 14.19 1.20 22.34 21.21 21.21 7.4 7.22 4.32 17.31 14.35 13.6 11.15 8.12 3.40 1.57 2.29 11.7 22. 50 18.17 6.17

(note)

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446 pharmacy phone, telephone (v. , n.) photograph (v.) 14. 58, piano Pig pilot pink pipe ( n . ) (smoke) pitiful pity (v.) place (n.) plan plank plant (n.), grow play ( v . , n., of children) play cards (v. ) playing-cards play the piano please! pliers pocket (n.) police politics pomegranate poor porch possible 10.12, post ( v . , a letter) post office postage stamp pot (saucepan) potato poultry pour pray prejudice prepared, ready present ( v . , show) present (n.) gift 1.29, preserves press, i r o n ( v . ) prevent, keep from Prime Minister principal (n.) print ( v . , n.) prisoner private (adj.) prize procession profession profit program projector promote ( r a i s e ) 6.6, promotion 6. 6, proof prostitute proud, arrogant prove provoke punish punishment quarrel ( v . , n.) question queue ( v., n.) quick

12.20 22.10 14.63 3.9 20.1 1.6 17.12 17.37 21.7 21.7 14.1 12.19 3.33 14.56

(note) (note)

6.17 7.18 14.44 3.9 1.34 12.10 22. 8 9.10 12.19 8.18 8.16 22.15 15.20 6.5 22.6 22.6 22.42 14.35 2. 3 appendix 21.8 16.19 1.74 4.37 1. 59 1. 83 (note) 2.7 12.12 13.4 ( note ) 13.4 2.28 12.15 21.24 (note) 21.20 10.29 1. 73 21.28 1.69 (note) 21.16 14.7 14.7 14.17 (note) 14.12 22. 28 14.17 (note) 11.4 4.11 4.11

4.17 17. 26 13.11 4.44, 14.14

quiet! quit

17. 10 14. 25

rabbit radio radish rainbow railway, train read ready real, correct realize ( v . ) r e a r (v.) receipt receive r e c e s s ( n . , Intermission) recognize red reduce refrigerator refuse (v.) regret ( v . , n.) relations, family relative (n.) relaxed be relaxed religion religious remain remember rendezvous repair ( v . , n.) repeatedly reply, answer ( v . , n.) answer ( v . , n. ) 9. 5, representative rescue ( v . , n.) research ( v., n.) resign responsible r e s t ( v . , n.) restaurant return ( v . , Intro.) revenge ( v . , n.) revolution rice rich ride (horse) rifle (n.) right (direction) right! that's right! rip, tear ( v.) rise (v.) 1.25, Rishon-le Zion road i . 31, road accident rock ( n . , stone) rocket roof room (n.) rose (n.) row (v.) rowboat rubber, e r a s e r rubber, stamp rug rule ( v . , govern) rumor

15. 21 22. 11 2. 27 12. 11 1. 89 15.4 1. 74 11. 6 21. 2 14. 21 2. 29 21. 1 9.4 18. 2 17. 12 4. 21 2. 9 1. 65 18. 13 4. 42 4. 42

(note)

(note) (note)

22. 18 21. 8 21. 8 10. 18 18. 21 10. 5 7.20 14. 3 17. 33 2. 22 8. 9 3. 32 14. 25 21. 23 22. 18 4. 6 9. 5 13. 2 3. 37 5. 13 21. 15 10. 20 14. 22 appendix 15. 24 11. 21 10. 25 (note) 20. 8 12. 8 2. 19 ( note ) 8. 3 3. 27 1. 4 12. 19 19. 1 (note) 2. 15 2. 15 7. 17 2. 29 1. 41 2. 12 22. 57

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447 run ( v . ) run over Russia

2.45 21.3 21.27

Sabbath sad 21. 7, salad salary salt ( v . , n.) saltshaker sample (n.) satisfied saucepan, pot 1.82, saw ( v . ) saw ( v . , n.) say scale (weight) 5.12, schedule school scissors scold 8.4, scorn sea second ( ordinal number ) secret ( v . , n . ) secretary secure security see seek sell send (a letter) seniority sensitive sentence (legal) separate ( v . , adj.) settlement, village seven seven o'clock, hours, days, weeks, etc sew shadow (v.) shame (n.) sharop (sharp-witted) sharp taste shave ( v . , n.) Shavuoth (festival) she shed ( n . , hut) sheep shelter (n.) shock (n.) shoe shoemaker Shofar 17.17, shop (n.) short shorten shout < v., n.) show (v.) shut, close shutter (of window) sick sieve (v.) sift sign, signature silly, stupid

7.2 22.37 (note) 8.5 5.9 (note) 12.6 12.6 14.8 20.11 22.42 2.4 2.4 17.14 5.16 1.69 18.11 ( note ) 10. 7 17.34 7.16 appendix 23.21 17.38 15.27 2.5 2.5 16.6 10.17 7.12 6.5 20.13 (note) 14.53 11.14 1. 53 8.21 23.7 Introduction to Ch. 23 11.19 1.15 16.15 1.84 1.84 (note) 14.15 (note) 16.16 22. 53 13.1 1.35 15.6 1.79 15b 28 7.28 7.28 (note) 17.22 11.11 1.1 4 . 2 1 (note) 17.23 4.37 1.37 (note) 9.18 9.3 5.15 5.15 appendix 18.7

silver similar simple sink (n.) sing sing (in choir) sister 4.27, sit six six o'clock, hours, days. weeks, etc. skullcap sleep ( v . , n.) slide (v.) slight ( v . , belittle) slip ( v . ) sly 17.27, small, little smell ( v . , n.) smell, odor smoke a pipe smooth (adj.) snake snow ( v . , n.) soap soccer (football) socialism social worker sock (n.) soda water soft soldier something sometimes son song sorry!, excuse me! soup sour speak special specialist spectacles, glasses spendthrift splendid spoon sports sport's cap sportsman spray ( v . ) spread ( v., s m e a r ) stairs stamp, postage stamp stand ( v . ) start ( v . , n.) steal (v.) steam engine steps sting ( v . , n.) stingy stocking stone stop ( v . , t r a n s . ) store, shop story stove, gas-stove strange stranger

14.2 ( note ) 4.25 1. 58 8.2 (note) 17.15 4.22 4.28 1. 36 23.6 Introduction to Ch. 23 15.8 15.1 3.30 2.25 3.30 22.20 1.1 appendix 19.11 17.37 1. 58 4.19 3.17 1. 71 2.26 2.2 2.2 appendix 13.5 14.38 13.3 6.7 15.17 22.14 17.15 1.60 17.42 17.39 17.14 11.9 11.9 appendix 7.27 U.9 17.40 13.12 18.23 13.12 2.16 1. 83 appendix 22.6 10.2 1.78 3.2 2.44 appendix 11.18 8.7 appendix 8.3 1.14 11.11 17.5 7.10 18.14 18.14

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448 street 14.12 stretch < v., trans.) 2.36 strike (v., n. labor) 7.9 stripe appendix strong 2.1 stunned, be stunned 22.41 stupid 18.7 Succoth (festival) 13.8 succeed, win 5.17 suddenly 4.30 suffer 21.22,21.33 1.85, 14.17 suggest suggestion 1. 85, 14.17 suit ( V. ) 4.24 4.24 suitable 18.17 summer 8.1 sun 5.3 sunrise 5.2 sunset 2.5 sure, certain 15.28 surprise (n.) surrender 1.21 17.18 swallow (v.) 9.1 swear (take an oath) Sweden 14.62 sweep (v.) 1.9 17.13 sweet (ad).) appendix swim 10.15 swing ( n . ) Syria 20.17 table tailor take take an oath take in (information) take medicine take out (something) talk, speak tall tank tap, faucet taste (n.) tasty taxes tea teach teacher tear ( v . , rip) tears Tel Aviv (city) telephone (v., n.) television tell tell off ten ten o'clock, hours, days, weeks, etc tense tension tent terrible test (v., n.) thank (v.) thank you! that's right 1 theater their(s)

1.47 11.19 3.4 9.1 14.27 17.29 5.10 17.14 1.1, 16.18 1. 97 8.2 17.9 22.62 8.14 9.3 6.8 6.8 11.21 16.7 22.54 22.10 3.10 17.5 17.34 23.10 Introduction to Ch. 23 2.36 2.36 1.44 22.59 3.32 17.3 17.3 15. 24 21.19 21.26 (note)

them there therefore there is they thief thin 14.49, thing think third (ordinal lumber ) thirst this thorn thousand three three o'clock, hours. days, weeks, etc. throw out, expel Tiberias (city) tie (v.) till, until time what time is it? tired to and fro, back and forth toast (drink) today together together with 3.22, toilet (W.C.) tomato total (sum) tow (v.) town, city tower trade, commerce trail (v.), shadow (v. ) train (n.) translate travel treat (v.) tree trip (journey) true, correct trumpet (n.) try try hard turn ( v . . n.) turtle twenty twenty-one two two o'clock, hours, days, weeks, etc two weeks typist, type (v.)

13.1 (note) 4.5 (note) 14.37 (note) 10.4 13.1 (note) 3.2 17.19 6.7 18.24 23.21 (note) 20.10 appendix 11.18 23.14 23.3 Introduction to Ch. 23 1.13 22.26 appendix 22.61 4.36 (note) 21.35 4.7 12.5 4.5 3.22 5.8 22.10 (note) 8.5 3.24 14.57 14.1 12. 9 7.26 1.15 1.89 4.48 16.13 9.17 3.1 16.13 11.6 17.7 19.8 2.11 4.9 14.43 23.11 23.12 23.2 Introduction to Ch.23 23.17 appendix

ugly 22.25 uncertain 22.22 uncle 4.42 under 1. 79 understand 10.3, 18.5 understood 10.3 undisciplined •2.17 uneducated 17.1 United States, U.S. A. 16.2 university 2. 30 unlock 7.3

(note)

(note)

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449 7.3 22.61 8.17 13.1 16.2 12.16 10.24

unlocked ( a d j . ) until upheaval ( s o c i a l ) us U . S . A. usher ( n . ) usual, get used to vacation valley vegetables veranda, balcony very veteran view ( n . ) village visit ( v . , n . ) visitor, guest voice vote ( n . )

(note)

22.7 1.51 appendix 22.15 14.15 2 0 . 1 3 (note) 18.4 (note) 8.21 1.91, 1.93 1.93 20.2 20.3

wake, awake 21.10, Wailing Wall wait! wait ( v . ) waiter wall walk ( v . ) want ( v . ) war ( v . , n . ) Wash ( v . ) wash, launder washbasin washing hang up washing waste ( v . ) watch ( n . , clock) watch, guard water ( n . , drinking water ) water ( n. ), flowing water water ( v . , a garden) watering hose waves way ( r o a d ) 1. 31, W.C. we wear, d r e s s weak wedding week 7.2,

22.63 17.4 6.4 21.24 1.90 1.43 10.8 21.5 14.13 21.4 2.23 8.2 14.48 7.27 11.23 10.1 17.24 3.11 7.19 7.19 5.1 12.8 22.10 13.1 21.12 21.35 1.77 23.16

(note) (note)

(note) (note) (note)

weep, cry weight ( v . ) weight, kilogram what? what f o r ? wheel when? where? whisper white who? why? wide win wind ( n . ) window wine winter with, together with withdraw witness ( n . ) wolf woman wood, forest wood ( m a t e r i a l ) wool word work ( v . , n . ) world worry ( v . , n . ) worthless wound ( n . ) wounded WTap ( v . ) write

16.7 5.12 5.16 3.8 6 . 1 1 (note) 4.47 3.8 3.8 22.19 16.9 22.2 3 . 8 , 1 4 . 3 7 (note) 3.16 5.17 15.29 2.8 (note) 20.8 2.9 3.22 5.5 1.94 17.6 22.9 3.39 3.33 4.46 12.2 2.33 9.16 15.13 6 . 1 5 , 11.20 8.11 1.81 appendix 11.15

Yarkon river year one year, two y e a r s etc. yellow yes yesterday you your(s) young

2.15 23.18 Introduction to Ch. 23 14.2 15.24 16.22 13.1 (note) 21.26 16.20

zero zoo

23.11 22.58

(note)

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451

APPENDIX Some additional concepts are given here the signs for which do not appear in notation in the Sign-to-English section of the dictionary. In signing these concepts the signer has recourse to one or a combination of the following principles (which also apply to many of those signs presented in the notation): (1) pointing to, touching, or fingering something; (2 ) drawing an outline in the air or on a surface or part of the body; (3) imitating an action (a) without transfer of meaning; (b) with transfer of meaning, to refer to an associated concept. (1) Pointing, touching or fingering signs Parts of the body such as the lips, arm, or foot may be pointed at by the index finger, while the back, neck, etc., may be pointed at or touched by the palm of the flat hand; the heart is indicated by pressing the flat palm against the upper chest; the hair is touched, fingered, or smoothed. Clothes are touched or fingered. Directions and locational expressions such as left or right are pointed out, often by the flat hand, its fingertips pointing in the required direction. ( 2 ) Outlining Characteristic shapes of objects are outlined, usually with the index finger, or finger and thumb in C-fingers; sometimes the outer surface is moulded with the palm of the hand; eyeglasses are outlined by C-fingers of both hands in front of the eyes; a beard is outlined by drawing with C-fingers on the chin; a line is drawn with the index finger, while the width of a stripe is outlined with C-fingers. Note that the boundaries between categories cannot be sharply defined, and in this case there may also be an imitation of the action of drawing. Another such example is that of stairs, or steps, which are signed by drawing the flat hand or C-fingers over a series of related parallel surfaces. To sign handkerchief the signer may draw a square with the index finger and imitate blowing the nose. Foods, especially fruit and vegetables, are often signed by outlining

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452 a shape and signing the characteristic color (see, for example, grapefruit, 8.10, and green pepper, 8.12, in the Sign-to-English section). It is noted in passing that there are no fixed signs for many abstract concepts, or class names, in the Israel sign language. This, of course, does not prevent educated signers from communicating about these concepts by the use of paraphrasing. Fruit in general may be indicated by signing two sample fruits, furniture, orchestra, e t c . , by two or three typical members of the class, and so on. ( 3 ) Imitation of actions ( a ) directly, without transfer of meaning beat (v.), or hit ( v . ) are signed by raising the hand as if to strike a blow; brush (v.), carry, cover (v.), hold, pour, tie (v.), wrap (v.), e t c . , are signed by imitating the appropriate kind of brushing (e. g . , of hair, or clothes), carrying, etc. The sign for inject is made by imitating pressing the syringe near the arm; to sign kneel, swim, or type ( v . ) the leg, arm or hand movements are imitated; sign ( v . ) is made by signing an imaginary document; smell ( v . ) may be signed by sniffing and touching the nose (involving pointing too). ( b ) imitations of actions, associated with other concepts, involving transfer of meaning The above-mentioned signs for brush, cover, swim, type, e t c . , are all signed t»y direct imitations, but in signing brush (n.), cover (n.), injection, sea, signature, or typist by similarly imitating the associated actions, there will be a transfer of meaning (see section 1. 5). Other examples with transfer of meaning include bag (n.), or basket, signed by imitating carrying these objects; cold (n.) may be signed by imitating blowing the nose and sneezing; cigarette is signed by imitating holding one between the fingers, and exhaling or flicking off imaginary ash; sock or stocking may be signed by drawing the hand up the side of the leg - another illustration of the lack of sharply defined boundaries between pointing, outlining, and imitation.

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