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The development and evaluation of a new ASL text comprehension task
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Lexical recognition in deaf children learning ASL: activation of semantic and phonological features of signs
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American sign language interpreters in public schools: an illusion of inclusion that perpetuates language deprivation
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An Examination of the Writing Strategies Used by Deaf and Hearing Adults: Similarities and Differences in Cognitive, Linguistic and Conventional Components
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Factors Influencing Language and Reading Development in Young Children with Hearing Loss who use Listening and Spoken Language
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Addressing Communication Barriers Among Deaf Populations Who Use American Sign Language in Hearing-Centric Social Work Settings
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Charles V. Williams interview, 08 February 2020
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In: All interviews (2020)
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An Event-Related Potential Investigation of Orthographic Precision
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Prostate-Specimen Antigen (PSA) Screening and Shared Decision Making Among Deaf and Hearing Male Patients.
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In: Journal of cancer education : the official journal of the American Association for Cancer Education, vol 35, iss 1 (2020)
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A Conversation about Songs My Mother Never Sung Me
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Abstract:
This conversation explores the development and premiere production of Songs My Mother Never Sung Me, an American Sign Language (ASL)/English chamber opera written and composed by Dave Clarke and produced by Concrete Theatre in Edmonton, Alberta. Staging an opera for Deaf and hearing family audiences required building meaningful connections to Edmonton’s Deaf community, both through engaging a Deaf cultural consultant and through a partnership with SOUND OFF, Canada’s Deaf theatre festival. Prioritizing ASL, Deaf audiences, and casting a Deaf actor in the role of Mom were significant. ; Cette conversation entre Caroline Howarth, Mieko Ouchi et Kelsie Acton porte sur l’expérience de la création et de la mise en scène de Songs My Mother Never Sung Me, un opéra en langue des signes américaine (ASL) avec orchestre de chambre écrit et composé par Dave Clarke et produit par la compagnie Concrete Theatre d’Edmonton, en Alberta. Mettre en scène un opéra destiné à un public malentendant et à des personnes entendantes exige que l’on tisse des liens étroits avec la communauté malentendante d’Edmonton. À cette fin, l’équipe a recruté un conseiller malentendant et a forgé un partenariat avec SOUND OFF, le festival canadien de théâtre pour malentendants. Elle a aussi accordé une priorité à l’ASL et au public malentendant et a choisi une actrice malentendante pour jouer le rôle de la mère.
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Keyword:
accès; accessibility; American Sign Language (ASL); Child of Deaf Adults (CODA); Deaf theatre; disability theatre; enfant d’adulte sourd; langue des signes américaine (ASL); opera; opéra; Theatre for Young Audiences (TYA); théâtre handicap; théâtre jeunes publics; théâtre pour malentendants
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URL: http://id.erudit.org/iderudit/1074797ar https://doi.org/10.3138/tric.41.2.f05
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Forced Transitions: Learning ASL In A Virtual Environment
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In: Northwest Journal of Teacher Education (2020)
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Making Sense of Mattering ... : A Phenomenological Study of Black Deaf College Students and Academic Success ...
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Real Time Identification of American Sign Language for Deaf and Dumb Community ...
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Addressing Communication Barriers Among Deaf Populations Who Use American Sign Language in Hearing-Centric Social Work Settings ...
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Discerning Consistent Evidence-Based Communication Strategies for Supporting Deaf Writers in the First Year Composition Classroom: A Study ...
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Real Time Identification of American Sign Language for Deaf and Dumb Community ...
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Tradução vídeo de língua gestual portuguesa: reconhecimento dinâmico de configurações de mão
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Discerning Consistent Evidence-Based Communication Strategies for Supporting Deaf Writers in the First Year Composition Classroom: A Study
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An Examination of the Writing Strategies Used by Deaf and Hearing Adults: Similarities and Differences in Cognitive, Linguistic and Conventional Components ...
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Adverse childhood experiences, parental self-efficacy, and language outcomes for children with hearing loss ...
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