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This year, the eighth annual international event on the musical heritage and environment of the Mediterranean, Vis Musicae has been devoted to the arts of the word in all its forms with performance poetry and music incorporated into a series of activities. Particular attention was given to sign language. For a long time hearing people have watched with large surface the "language of the deaf", invite us to reflect events like this are a cause of closeness and brotherhood among different people, but at the same time in such different ways of expressing the thought united in the universal language music.

In a silent language of hands moving in the air and create invisible figures in an attempt to discover how knowledge can start by hearing a different sense: sight

WHEN HANDS TO TELL ...

Tiffany Towers Lactation

Echoes of silence

adolescence in families with deaf children

This phrase is the subtitle of the book by Robert Tommasini "Echoes from the silence" . In this text, you can read the testimony the writer at his first meeting with the deaf community and some specifications on the field of deafness from her Date.com specified in the preface, the author's intent is to propose a holistic approach to the archipelago of deafness.
Deaf people are portrayed by the author in the main social group, namely the families studied what are the rules comunicative.Scrive the 'author' the deaf world goes around and leads through your eyes, there are no school bells, but only lights that signal the end of the school and the conference, participants watched the experiment with an interpreter who speaks of leaving lone exception. "R. Tommasini's first trip in the" land of the deaf ' began many years ago in a large hall of the Institute for the Deaf in Rome: there were many men and women whose hands were moving in the air were all deaf and when she turned to the first articulate sound these were immediately that was udente.L 'author was there to "help" the members of the Institute to organize a chess club. She was so gave his first name sign (first initial of his name in finger spelling, "R" articulated through a rotational movement Vivino recalled his ear that curly hair). Tommasini R. testifies that attending courses LIS have observed that the Waits harder for us is not deaf seganre in the strict sense, but the first hurdle is the "forgetting to hear and feel with the body, eyes, or "thinking deaf." Initially the author was using an interpreter chased by DTS (telephone device for the deaf, can only receive or send communications by or to dts its operation is more analogous to a telephone voice transmission to allow a dialogue, in which the exchange of jokes, however, happens via a keyboard) for communicating with deaf Parsons became easier and not longer needed the mediation of the interpreter. The author says that doctors are concerned primarily factual materials of deafness, focusing on the degree of sensory impairment and investigating the possible causes of insorgenz, on development of diagnostic techniques and interventions protesizazione; on their purpose is to try to resemble as much as possible even of an ideal model of "deaf". The author's approach is the systemic relational model that placed emphasis on openness to contributions from different disciplines in the effort of a continuous focus on different levels of analisi.L 'author's intent is to overcome a vision pacellizante "phenomenon of deafness and integrate contributions from different research orientamenti.L 'object of study is not deafness but the deaf person, his" social ", its relations, its meaningful context for excellence: the family . within which the individual grows and built its identity .... So R. Tommasini Waits chose to capture the significant relations between parents and deaf children in particular during adolescence, this stage takes on huge importance in the construction process of personal identification doìi 'teenager, and puts all the members of the system to meet the need of putting in place resources to redress the balance of sistma himself: "The little bee critical event is that, in front of it, the usual modes are inadequate and, if they are not new processes of adaptation or When you have a family member suffering dell'oragnizzazione. "In fact, adolescence is a time for family transition, which occurs cambiaminto the participation of the child to the outside world and itself; famoglia same time in the family there is a redefinition of "borders" of subsystems consisting of a subset of the removal by adolescent siblings, and responsabilità.Anche acquisition of greater autonomy and the relationship between parents and their teenage son is moving towards an approach that recognizes the state of efacilita "young adult". Parents should scale with the new need for autonomy figlio.La family must be able to give the guy the opportunity to experiment with their "explorations" and proteggrelo providing a support, which is also very importnte in family are well-defined roles and boundaries of each member. The idea that prompted the writer to be interested in the theme of the Deaf Adolescents and their parents was born by an interest in a reality che.pure if widespread, is in many ways sconosciuta.La presence of a "handicap" certainly adds hearing complexity at this stage of the cycle, then the dynamics vitale.Considerando most frequently observed within systems, families with teenage children, has tried to highlight the special features that the presence of deafness brings se.Durante adolescence is of particular importance the quality of communication between members of the family sistema.Diversamente "deaf" (consisting entirely by deaf people), in which there is sharing of common pattern among the members of the family system, in families whose son is deaf, hard of hearing there seems to be the "problem" of comunicaziuone.Gli deaf adolescents raised in deaf families is more difficult than they contact with other deaf teenagers and this often causes discomfort, frustration and infeiorità udente.Allo to the world the same way is more difficult essre ilo process of identification with the figures oarentali: the presence of an adult in the life of a deaf boy on hearing seems to offer the possibility of launching this important these processo.Tutte Difficulty experienced by deaf children raised in deaf families make more difficult to implement than the release from the family of origin, creating an extension of adolescence in the long run may prove detrimental to the formation of personality and self adultasicura ...
(The book written by a deaf, is riovolto udenti.soprattutto to those who sometimes find themselves smiling in front of the telgiornale, an interpreter signer in a box smaller dell'udente speaking, but it is riolto deaf even to those he sees their world once told by a hearing.)

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Thousand Words ... Rap

Through this article I found, I want to reiterate some concept that we should know by now, but it is always worth remembering ... and stress ...

"There are no two people who do not understand, there are only two people who have not discussed". African proverb.

"When a person talks reveals his mastery in the articulation of sounds more or less complex but also and above all, the ability to express thoughts and opinions about what the environment or living things in first person as to be able to sensations, feelings and emotions.
From this can easily result from the belief that the word is a guarantee of thought and set his first and only expression, vocal expression is thus the same as what is expressed through words, so that a difficulty in the language (when, for example, the proper articulation of words) reveals that the second logic, a cognitive delay.
the deaf, who rely on the hands and eyes, rather than the mouth and ears, the task of conveying messages, have always been the victim of this (among many) injury, which is already manifest in the way of education of the child deaf school, in fact, as revealed by a survey on the rehabilitation of the pupil's personal history deaf "globally not familiar with the peculiarities of disability resulting from an auditory sensory deficit and does not involve a priori cognitive delay, (...) this leads school stakeholders to unite disability and hearing handicap precognitive and to consider the deaf child as a child that has inevitably behavioral disorder. "
The language is a privileged instrument of thought, but the thought without language is possible, so that, starting from the assumption that language and thought are interdependent and that the prelinguistic deaf, wrongly considered "free speech", are therefore having a cognitive impairment that limits the acquisition of the ability to reason, conceptualize and abstract, leads to the mistaken belief that the lack of or inadequate language acquisition involves the word "deprivation of language."
Although proficiency in spoken and written language has a positive impact on the development of thought, language ability does not, by itself, no increase in cognitive capacity.
There is a necessary connection between thought and language, would not have to imagine a language without the thought that precedes it, as a phenomenon and its meaning above, over time, symbols that represent it. The thought, therefore, needs representation and, therefore, of symbols, but not necessarily the system of symbols and rules in the report consists of the verbal language.
From the moment the development of thought is not strictly related to the presence of verbal language, however, must be reiterated that it needs a "language", which is run by a dialogue and communication in deaf communication that takes her clothes body language and facial expressions, and which is expressed in Italian Sign Language. "

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visual, where the sign screams

The music is made of sounds? Yes, only sound? Clearly not. And what's more? C 'is so much more.
First, there is life, because life without music is unthinkable to have and, in my opinion, the opposite. The music is a trace of life, as is the art in general and as are many other things or activities. The philosophy of language teaches us that there is a close connection between biology and meaning where there is no sign of life, man is immersed in the language and meaning makes a person. Art also moves between the meanings we play them weaves, takes it and the music, especially when it involves a written or recited, also weaves the senses, through the harmonization of instrumental and vocal textures in time, or better, in time. As we know, nothing escapes the time, let alone the music that beats even the : There is a rhythm, a rhythm, dynamics, accents. All this is, so to speak, within the logic of sound.
VIS MUSICÆ is treating many interesting topics that leave room for many thoughts and in my case, mixing rap and sign language, they have resulted in an interesting question: can there be a visual Rap? I think so. But it may be a shift from the floor to the sounds of the images? Well, once Keith Richards (Rolling Stones guitarist) called musicians like painters who paint on the canvas of silence and I open more than a little imagination. But how "sound" visual music? And because I spoke specifically of visual Rap? The visual music already exists, and you continue to experience, however, between the various genres of music, my choice was right on the Rap in the light of its structure, its essence, which is based on two essential elements: the text and rhythm. There is no word rap, but it must be projected against a rhythmic accompaniment, in which time is marked regularly and usually with little change from start to finish a song. But when a drummer plays the rhythm we perceive only sound? If we observe it, than to listen, not really. His act also takes time. Here the canvas is silence, is space. We only need a smooth and coordinated movement arms, legs or body, perhaps capable of expressing a certain desired intensity, to get our "visual rhythm". The vocalist clearly would use sign language to express the content of his lyrics to "sing" his texts, but clearly going in time with the rhythm dictated by the "gestural drummer", thus creating a "melodic line visual Cell. All this could then become even richer and more complex with the addition of "visual music instruments", that is to harmonize the visual rhythm as a function of their "gestural patterns, different from instrument to instrument, with variations Regularity, to mark further steps to verse chorus. (Clearly this is the gist of the idea, because the issue needs more thorough analysis)
I think the guys deaf could find in this "visual Rap" their sacred dimension of music, not only for technical reasons and structural I have analyzed, but also for socio-cultural: the Rap was born from sharing situations, problems, emotions from people belonging to the same status, a great community that continued to tell his stories in music, in line with the traditional Jazz, Blues and Soul.
This genre may then become even more disruptive, in addition to wearing "clothes sound" even the purely visual, giving a large number of young people the chance to share with enormous vitality, their cry. Why is the "Rap of view" would certainly be a scream and a muffled moan .

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Reviews from the second night of VIS MUSICÆ

It comes from another Silas announced:

still some impressions

who attends the event.

And this time there is a gem: it is the opinion

of poets and artists who have participated.

enjoy.

The Greeks, Italians and Portuguese. On the evening of improvisation

mean that their verses are included.
a fresh statement.
knock down borders between countries.
If I have to give a review
the evening is more experimental.
To make the universal language.
Acutis De Donato (artist eighth rhyme)


Sound is vibration in high salt.
combines the gesture and also the word.
And even if the language is not the same
tonight seems to be one.
Whatever communication today is still the message straight

flies will suddenly
poetry that leaves the memory in engraved heart.
Serena Salvatori


Deaf people dancing, people playing instruments such as ... tradition. Innovation, experimentation, Calabria, Greek, Portuguese, Lebanese, Palestinians and friends surprised that arise in diversity ... I like it! Thanks
Paola Paggi

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Impressions, feelings and emotions from VIS MUSICÆ

In the first evening of the event was really a lot of emotion ... as many have marveled at the beauty of this "union" between deaf and hearing impaired.

's reviews:

a great feeling to be here with all these young people. You breathe a climate precious and rare. Next year you come, too.

Augustine

Day dense, full of emotions difficult to describe in words ... poetic speakers, artists, philosophers, performers dancing, subtitled mitragliante, trainees wild, deaf people who dance to the rhythm of reggae, tomorrow you can start to learn the sign language, or become a human battery with the vocal cords and then suddenly and scholars to rhyme for the Mediterranean ...

Paul Scarnecchia

Nice evening but could be advertised a bit 'more to get more people! !

Nicolas

Great night, shame about the little people. And great music.

Cicialeo

great night pity that there are so few.

Annalisa

Beautiful evening pity for the little people. Jamu broduuuuuuuuuuuuuuuuuuu at all ... ... Joseph

Sounds, dancing hands, voices and emotions. Veniteeeeeeeeeeeeeeeeeee to hear and see with our hands and singing voice that resonates.

Donata

excellent initial integration between deaf and hearing people.

Raffaella De Cicco

You The first time I participate in this event. For now I can not say what the results of this integration between deaf and hearing people but their impact, for now, is very good.

Maria Lucia Franchina (deaf girl)

is beautiful, beautiful I feel so many emotions because there is the LIS and subtitles ... Full service .. Probably because of this I feel these emotions.

Antonio Bottari (deaf children)

Yesterday I arrived here by plane, after they accompanied me. I thought that Calabria was not so good and I was very surprised by trees, mountains. I am the only deaf artist arrived yesterday and I am glad I met Paul Scarnecchia, special person. I talked to him without an interpreter and I was amazed. This morning, I did see the Sila. A beautiful place ... I'm glad that the LIS is also shown to the hearing so as to be known. It is important to make it known even to the deaf and the first to find out what it means silence. Now it is early to tell, but certainly the integration will be beautiful and full of emotions.

Lucia Daniel (deaf poet)

Nellamia life I did not expect this event. Paul has decided to incorporate music and lis and said that under the signs is no music. Hearing people use the words and make music. But the deaf do. It is the first time organizing an event with rap music and performers. I am amazed how the performers can do to see the music. Tomorrow I would like to see deaf artists to show their feelings.

Giuranna Rosa (poet LIS)

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Today on "Calabria Ora"

Donata Chirico

Poetry is like bread: simple and sacred.

is an electric wire that can connect with the infinite,

with nature, with the soul of the world.

It's like the prayer of the mystics, no longer the language of belonging,

no marks higher religions, no borders

Fuad Rifka, The last word on the bread , 2007

Tommaso Russo Cardona was a friend and colleague. He taught at the University of Calabria, but this is no longer with us. Cancer, this disease as "symbolic" and elusive, we took him away. Determined and frail as he struggled he could do: loving and learning. And so he left us two books with the specific desire that his friends will get literally hands. She knew that she would not see them without editing. But he also knew that those who knew him and loved him, would not let his work do not see the light. They are books about what makes the most of all language that form of life so special that it is. The first describes and analyzes the particular cognitive and linguistic phenomenon that is the irony and the "overthrow of discourse" that characterizes it. It will come out tomorrow just for Meltemi. He has edited the Grace Basile. The second book is about poetry. It will be released later this year. Tell us how poems are made of verbal language. Above all, however, tells how they are made and how they work in the language of poetry signs and, in particular, in Italian Sign Language (LIS). Moreover it is precisely in the course of an analysis and a glossary of the poems of the poet who was born deaf Rosaria Giuranna the title: "Foolish rattling of jaws."

E 'notice that the poem has fewer visitors and readers of novels. Imagine how many people can have a poem in sign language, or in a language commonly used by deaf people (and not by all the deaf), historically considered one language and not, therefore, always been outraged and boycotted. Yet there is poetry in sign language, deaf as there are poets and poets who give it life. It 's a piece of culture "oral" and, therefore, carnal, in a world of so-called global communication, that no body and no voice. We must admit that there is something primitive and button in the poem, perhaps even naive. And this is true, of course, for poetry in sign language. Each poet, the working hands and eyes (as happens in languages \u200b\u200bmarked) working as the voice and the ear (as, in contrast, occurs in verbal languages) uses language in a special way and as the uses and transforms the "perform" something that holds together body and soul, instinct and mind, the viscera and brain. This explains, or at least suggests that poetry is always in and out of the language in which it was born. Daughter of the daughters of Babel, you often get away from his own roots and become a shared language, pure sound, rhythm, universally recognizable. Tommaso Russo Cardona studied sign languages \u200b\u200bfor years and I was fascinated because it seemed that they had a vantage point from which to explore themes that were dear as, for example, the relationship between the origin of language and activities manipulative and instrumental. When at one point impacts in poetry (he knows Giuranna Rosaria and Joseph in 1995) seeks to understand what that art is made of signs differed from that of words. Carefully exploring the dance of hands that is in every poem in signs, Tommaso Russo Cardona has taught us that there is a common root words and signs and that the register of poetry is "the place where the similarities between spoken languages \u200b\u200bare more evident and marked." More precisely, he showed that in both cases "the poetic text brings into play its own internal rule, one (anti) standard that builds on innovations for its deviations from the norm and typical of other registers and, more generally, records in common use. This (anti) standard in his work and reconstruction of a contrasting fabric is based sull'accentuazione creative language of some fundamental properties of language (...): the balance between arbitrariness and iconicity redundancy, the contrast between vocabulary and grammar, the indeterminacy. " The book closes with a call to Vico and the assumption that poetic language can be regarded as the common source of our language faculty. Imagine that will not mind if the great Neapolitan philosopher Maria Zambrano with him remember when he writes that "poetry is the best friend of mercy."

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Arts and barrier-free communication through sign language ... First step

LIS and music (music, visual)

I have not attended a course in sign language as some of my colleagues because, being an elective, not in my curriculum, Thus we the argument from ignorance on the matter and, ignorant on the subject, the first thing that came to mind in this regard is whether and how to apply the sign language to music, which as we know it is art, but is first and foremost language and communication. It 'possible that the deaf are able to perceive and make music and live it as an art and way of communicating through the LIS? I asked this question and I tried to document. The notion is that once drew my attention is that of "visual music" explained by two concepts in some way metaphorical but give a good idea: "Music for the Eyes" and "Images for the ears." I found this concept in multimedia website-Words in motion Robert Heller, which deals with linguistic and visual codes in the web. At the same site I found an example that could perhaps explain this concept and make us understand how the LIS is applied in music: it is the project "Gospel in his hands." Last November 2008, at the Teatro di Cossato Micheletti (Biella), the groups "I see Voices" and "Biella Gospel Choir" have in fact presented "Gospel in our hands", a concert of hands and voices.

GOSPEL AMONG THE HANDS (Associations "I see Voices" and "Biella Gospel Choir)
LIS interpretation of the songs and artistic director of the choir
Simone and Roberta Cericola Gherardi


"Simon Cericola (LIS professor of bilingualism in the project" Italian Language - Italian Sign Language "for the integration of deaf children to Cossington) and Robert Gherardi (sign language interpreter) have interpreted the proposals from Biella Gospel songs Choir, from Italian to LIS. They have not stopped by a simple translation of the lyrics of the songs, but they have enriched a visual sense of "aesthetic and poetic interpretation of music, including the general public by the significance of the particular place musica.Hanno attention to transmit sign language, metaphors, and all the cultural nuances of their native language of the songs: the rhythm and the sign are consistent with the trend of melody. The concert has in dialogue worlds that usually remain distant and separate. Two choirs, one deaf and one deaf, lived together in the preparation of the same music, and dance of the hands of the pupils of the school bilingual Cossato found itself in counterpoint with the voices of the Gospel choir: for the audience emotion overwhelming. "

Any words of Simon Cericola summarize the topic under discussion and we give the sense:" The sign language is communication between the deaf, but with sign language you can make art. You can do poetry ... songs. "

To read the complete transcript of Simone and Roberta Cericola Gherardi to the event "Cinema Without Barriers" click the link below:
http://docs.google.com/View?docid=dhtkf85z_98dgssb9ch

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first day of 23/07/2009

event
Opening - 18.00

Fabio De Chirico - Superintendent historical, artistic and ethno-anthropological Calabria / MiBAC
José António Cabrita do Nascimento - Director Regional de Cultura do Alentejo (Portugal) / MC

Donata Chirico, Daniel Gambarara, Rosaria Giuranna, Virginia Volterra
Signs that do not stop: with Thomas Russo

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Children learn sign language without any problems ...

A child can learn sign language without problems and with the same speed with which learns any other language ... watch this video ...

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how to communicate the Deaf Sign Language

Sometimes it is a dialogue in silence
when the voice is not there, are the hands that mark
and whole body speaks.

If you do not know that language can never understand each other completely.
Sometimes it is a dialogue sound:
voice is hoarse,
really understand is the language expressed
and the dialogue is likely to break. You
introduce other modes of communication
not to risk misunderstanding and incomprehension.
Other times it is a dialogue between speaking the same language
but the expertise is not the same.
For dialogue to be effective
you change your language register.
other times .... You can even
surprised the skill and communicative language of your interlocutor
to completely forget his deafness.

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In Italy, every year, born about 1500/2000 children with deafness.

and 6500/7000 are about children who need school support for hearing problems.
From these data shows that children with hearing impairments, deaf people are not necessarily complete, are a really large number.
So why do not you can improve communication from an early age in the range 0-3 years is the period of greatest learning?

Joseph Lonergan, head of the right hand, has just filed a motion in which he proposes to place a professional specialized in Italian Sign Language in at least a day nursery for the District.
As you know, the sign language is a visual communication system used by the signers of the community they belong to the majority of people who are deaf or hearing too weak to be able to communicate verbally (to every nation, among other things, is its language).

"Familiarity with this new Language (LIS) - Lonergan says in the document - it would be for the little deaf and a cultural background very useful and would serve in particular to hearing people as a new symbol system of communication. " The Council noted that this experience would serve as a stimulus for intellectual development, emotional and social band ranging from 3 months to 3 years, fostering a harmonious integration of deaf and all alike have the same learning opportunities. "Not only - the parent company continues - but bilingualism would reduce the emotional and psychological impact of hearing and deaf children by promoting socialization, so as to make the Lis as their native language for the deaf and second language for deaf children. "

The Council requests that the Administration will undertake a census of resident families with deaf children under 3 years of age, to change the rules for access to the lists to help the entry of deaf children in nursery schools where the professional will be specialized.

January 14, 2009 ·

source La Stampa.

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doing several web searches and looking particolarmante the dissemination of the information I have found that a number of LIS news on TV and on the internet provide a lot of projections in different bands everyday! What heartened me because I realize that this is an issue very carefully followed today and that is unlike other situations that are abandoned ...
My research will certainly deeper and my goal will be to explore every facet of this world in my opinion very interesting!



attachments other sites I REVIEWED AND 'CAN FOLLOW LIVE ON TV NEWS LIS.

http://www.quotidianonet.ilsole24ore.com/tv2008/lis.php

http://www.comune.torino.it/pass/php/4/index.php?pag=7

http://www.tg10.it/?q=node/7728

http://www.dizlis.it/modules.php?name=News&file=article&sid=397


http://www.lanazione.it/

http://simoblog87.blogspot.com

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A language you see!


For Carl, the United States, this language is a gift of her deaf parents. Although deaf since birth, at a very early age was already able to define objects, connect with signs and express abstract thoughts in American Sign Language (ASL). Most parents of deaf children with deaf signers began to produce the first signs at 10 or 12 months. The book A Journey Into the Deaf-World (Journey into the Deaf world) explains that "the linguists now recognize that the ability to acquire a language naturally and to its transmission to their children is deeply rooted in the brain. It is quite immaterial whether the capacity is manifested by a language sign or spoken language. "

Sveta was born in Russia and belongs to a family of three generations of deaf people. Together with his brother, also deaf, has acquired the Russian language of signs. When three years was enrolled in a kindergarten for deaf children knew sign language to express oneself well. Sveta admits: "The other deaf children did not know sign language and learn from me." Many deaf children have hearing parents who did not know sign language. Often sign language has been passed down from deaf children to school in larger smaller ones, so that they could communicate with ease.

Today more and more parents learn the language of the deaf signs with their children. Consequently, these deaf children are able to communicate effectively before going to school. This is the case of Andrew, a Canadian whose parents are deaf, hard of hearing. They learned sign language and used it with him as a child, providing a linguistic basis on which he could build in subsequent years. Now all the family members can communicate with each other on any topic in sign language.

Deaf people are able to formulate thoughts, abstract and concrete, with no need to think in a spoken language. Just as each of us formulates thoughts in his own language, so many deaf people think in sign language.

variety of languages \u200b\u200b

Worldwide communities of deaf people have invented their own sign language or adopted elements of other sign languages. Part of today's vocabulary of ASL was taken 180 years ago by the French-language signs. These signs are then merged with those in use in the United States, giving rise to the current ASL. Sign languages \u200b\u200bdevelop over many years and are improved from generation to generation.

normally sign languages \u200b\u200bdo not follow the trend of socio-geographical spoken languages. In Puerto Rico, for example, using the ASL, even if you speak English. Although both England and the United States will speak English, the first using the English language of signs, that is ASL is very different. The Mexican sign language is different from many sign languages \u200b\u200bof Latin America.

When you study a language of signs, one is struck by its complexity and richness of expression. With sign language you can express almost all topics, thoughts and ideas. It is nice that there is a growing tendency to produce literature for the deaf on videotape, using a natural language of signs to tell stories, recite poems, describing historical events and teach the biblical truth. In many countries, literacy in the sign language is increasing.

Many educational centers for deaf children throughout the world have discovered the benefits using sign language since the time the child begins to develop his language ability. (See the boxes on pages 20 and 22). They found that communicating with the deaf child as a child in a natural language of signs and developing a foundation language you will set the stage for increased academic performance, for better social integration, and also for the subsequent acquisition of a written language.

A commission of UNESCO (United Nations Educational, Scientific and Cultural Organization) on education of the deaf said: "It is no longer permissible to neglect the sign language or not to promote it in educational programs for the deaf. " It must be said, however, that whatever choice parents make for their deaf child in education, is of utmost importance to the full participation of both.

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E 'natural language use that you or your ability to create a language?

"The ear, accustomed to hearing a uterine environment that is a liquid, it must suddenly adapt to the noise of the air. (...) From now on, we see all'elaborqazione audio.vocale conditioning. (...) ... recognize their ability to emit and to command or to a certain extent they want this issue. (...) Why is nothing less physiological speak. And 'certainly a human phenomenon, but not There is not an organ physiologically responsible for this effect. Nothing in the repertoire of our anatomical accessories is really intended for this purpose. We were provided with a digestive tract and breathing apparatus, m not we have been given nothing specifically aimed at language, the spoken language, of course. " (from:" The ear and language, "Tomatis )


Deborah De Rosa

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bar talk with two deaf.

I have a beautiful bar near the sports hall of my country, and a few days ago there was in the hall, a dance event. A modest rate of year-end of a school Local.
Arrival at our "coffee culture" in the evening has begun, and I find two guys that gesturing to the counter, a couple I think, and my mother, who nods and leans on the fridge under the bacon to get their things, which, hidden, could not be clearly indicated.
a moment I go out among the tables outside, I go back and find the guys sitting at a table not far from the counter, smiling, looking towards my mother, who laughs with them. Then I see my mother make funny deictic gestures, nothing more artciolato of this, to make themselves understood ... at that time she was the one who did not know the language of others. The boys, now I was sure they were deaf and dumb, smile and perform other actions. My mother says to himself out loud: Oh, right! and their smiles.
Now, one might point out that my mother hears and speaks, he never studied the Italian sign language nor no other sign language, and, at least to my knowledge, has never had to deal first with deaf people.
I ask: "Excuse me, but how they're understanding?" She responds very naturally: "Boh! I do not know ... I treat them normally! Who said that they must get to understand me I try to understand them now but it's easy if you try! Sometimes mistaken But a little 'we understand each other! "
My mother was putting them in place of "normal" and was feeling compelled to adapt. Did what they do in a few short: do not treat them to feel superior just because of the language system have longer considered "normal", that is oral.
And the great thing was that in the end, good or bad, you understand.
At the end of the evening my mother, who never studied anything about the philosophy of language, ethics, listening, sign language, etc., etc., told me: "Of course we are just ignorant ... but why not learn a bit ' , the sign language? those two guys were cute! "

Deborah De Rosa

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PREJUDICES

A sort of fear towards anything that is "different" hovers between breaths of humanity forever. In ancient Greece
crippled children were left abandoned to die in the arms of a dangerous nature. With the rise of Christianity, homosexuality becomes a taboo, a crime and who was so sick of epilepsy was possessed, the deaf could not receive the sacraments, in addition to baptism, because they were considered unable to keep the promises which are considered eternal infants.
Continuing on the path of history is impossible not to mention those who lost their lives or have been exiled for their way of thinking "different" from what the Church or the power they wanted people to think. And then the destruction of the Second World War that saw Jews, communists, homosexuals, people of color, the crippled, suffering in the prisons of pain and tears in my eyes watching Death, Death mocking and malignant accusing them of being "different."
Even today we see storms of violence that railed against "not normal". Prejudices
absurd plugged the eyes of reason. There were people who told me that "all the sick people are evil, because they feel different."
I think it's the yardstick you use in determining what is different or what is normal and does not work at all. Being attacked in the canons of physics "perfect", considering the higher their belief than others. Personally, I think we should pause to reflect on the fact that every human being has a soul and loves, hates, wants, thinks, regardless of their physical appearance, by their religion from their political or sexual orientation or religious beliefs, by their own conditions health.
If only we strive to free our minds from the prison of prejudice would understand that humanity is not the keyword "diversity" but EQUALITY.

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sign language

Sign Language is a visual communication system used by the signers of the community they belong to the majority of people who are deaf or hearing too weak to be able to communicate verbally. The communication takes place, producing what may seem to a layman the trivial gestures, but in reality they are signs (as opposed to gestures that have specific meanings encoded and common ground, as with words) made with one or both hands, each of which is assigned one or more meanings. Sign languages \u200b\u200bexploit the visual-gestural channel, so the message is delivered with the body and perceived by sight. Sign languages \u200b\u200bare related to the deaf community scattered all over the world, every nation is its own language:
in Italy, the Italian sign language (in acronym LIS), the United States
the American Sign Language (American sign language, ASL)
in the United Kingdom British Sign Language (British Sign Language, BSL)
French French Sign Language (Langue des signes français, LSF)
and so on. It should be noted that not only every nation is allocated a specific sign language, but also within the the same country there are slight regional variations of sign language national and in some cases, even within the same city between clubs of different schools.
The visual communication of the deaf has been known since ancient times: even if the news of what was then called sign language or gestures are very fragmentary. The first to describe in his writings in a more systematic sign language used by deaf students is the educator and founder of the Paris School for the Deaf, Abbe de L'Epee, which, in the second half of the 700, decide Use of this form of communication to teach the written and spoken language by adding the signs he created corresponding to the grammatical francese.Sicard and syntax of the language, the successor of the Epee, was a great student of sign language and in general between the French Enlightenment, at the same time, you may see an interest in various aspects of human communication. The American Thomas Hopkins Gallaudet, who was fascinated by the work of Sicard, travels to France and after a year of training at the Institute of the Deaf in Paris, decided to return to his homeland in 1816. On the return trip by boat lasted a year learning the French sign language (LSF) from a deaf educator institute that brings with it: Laurent Clerc. Gallaudet has brought to the U.S. sign language French, which is spreading through the creation of institutes for the deaf (The first school is of Hartford, Connecticut), and then combined with the signs used by the local population, giving rise to the American Sign Language (ASL) (in fact we still see significant similarities between the LSF and 'ASL). Gallaudet is known also for founding the first university in the world for the deaf. Even in Italy it's definitely been a sign language among the deaf: there is evidence in this regard to the first half of the 800 deaf educators. But Congress in Milan in 1880 and held rigidly attached thereto oral prevents this form of communication is widespread especially in education: prohibited in the classroom is spreading in the corridors resulting in a depletion and a consequent lack of linguistic knowledge that the Italian sign language constitutes the mother tongue of the deaf, than the language of the deaf. In all countries, however, sign language began to be studied from a linguistic point of view only since the sixties. William Stokoe, a U.S. researcher, was the first to demonstrate that this form of communication is not a simple gesture, but a true language with its own vocabulary and its grammar, able to express any message.

Sign language is a real Italian language from the sociological point of view, as the expression of a community: the community of deaf Italians. It is also a true language with its own structure and syntax: This is often different from Italian but can have incredible similarities to other oral languages. Verbs are conjugated for example is not based on time, but have to agree with both the subject (as in Italian) is the object of the action, as is the case in Basque. There are numbers to indicate pronominal "we two, you two" (as the dual of the ancient greek) and even "the five of us, you four, three of them." The correlation of verbs, adjectives and nouns is not based on gender (male and female as in Italian) but the location in space where the sign is made. There are different forms for the plural "normal" distribution and the plural, a distinction unknown European languages, but known languages \u200b\u200bin the ocean. The tone of voice is replaced by the expression of the face: there is an expression for the direct questions ("Come?", "Study mathematics?") To a complex question ('where are you from? "," Do you study? " , "Why are you crying?") for an imperative ("Come," "Study!") and other phrases to indicate (the book I bought, the guy you talk to). The sign of each sign language can be broken down into four essential components:
movement
orientation
configuration
place and non-manual components:
facial expression, posture and

oral components.
Another obvious symptom of the stubborn search for 'integration' is the non-Italian language called Goal, or the use of signs with grammatical structure of the Italian language, or, again, the use of manual alphabet (finger spelling) when the signer is missing , for his ignorance of a sign or not yet joined the language in LIS, the Cherem corresponds to the phoneme of the spoken languages. It is important not to confuse the sign language with sign language, as they are two completely different things.
Italian Sign Language (LIS)
Sign languages \u200b\u200bare languages \u200b\u200bat the same time young and old. Old as they are always used by the deaf to communicate, in fact, the sign is the spontaneous way for deaf people, because it engages the visual-gestural channels that are free of deficit. Young people because it was not until the late fifties when an American scholar, William Stokoe (1960), studying American Sign Language (ASL), realized that sign languages \u200b\u200bhave linguistic features similar to those of the languages \u200b\u200bspoken. In Italy the study of Italian sign language began in the late seventies with a group of researchers from the National Research Council, coordinated by Virginia Volterra. To summarize this is an ancient language that for centuries has been sent to 'oral', without the testimony of a literature and some times forced into a semi-underground in recent years acquired the status of language, begins to study the grammar and syntax, leaving the first dictionaries.
Research published by Volterra (1987) clearly show that the sign language used by deaf people is not an Italian language, but has the characteristics of a real language.
The presence of specific morphological and syntactic rules is an important characteristic that distinguishes a language of signs from a sign language or pantomime. There
systematic articulation, phonological corresponding articulation of the spoken language, the analysis can identify the signs of formational parameters, which created all the signs of language, and you can find a lexicon, morphology, syntax.
This research led to the discovery of four basic parameters in the articulation of gestures in LIS:
the place of the space where the sign is performed;
the configuration of the hands in carrying the sign;
the orientation of the palm and fingers taken out of the hands;
the movement of the hand performing the sign.
early nineties three dictionaries have been published relating to the LIS. The output of these publications, due to the desire of deaf people to spread this Italian language and deaf people to learn in the courses that meanwhile were held in several Italian cities, has contributed to evolve the process of institutionalization of LIS. The
Elementary Bilingual Dictionary of Italian Sign Language by Radutsky E. (1992) is undoubtedly the most impressive of these works.
Presents more than 2,500 signs and for each item shows the graphical representation, the transcript of the sign on the basic parameters, the translation in Italian, a few sentences of explanatory context, synonyms, signs, phonological variants, regions of finding signs. The LIS has no written form, is a language of dialogue exchange used by the deaf community in Italy. It has a structure very different from Italian (spoken) since, in the course of history, deaf and hearing were not very contatto.Ad example, most of the signers produces sentences with SOV order of the signs while the Italian speakers use a word order SVO. Many of the signs of Italian verbs also agree with the object (a property also found in spoken languages, eg Basque) while in Italian verbs agree only with the soggetto.La Italian sign language, like other languages marked, is thus not a pantomime signs with random products like many people think, but is a real language with its own grammar but is very different from that of spoken.
Sign Language
Some deaf people communicate through sign language. These are real languages, different from country to country and sometimes even at the regional level, with its own rules and a rich vocabulary.

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Hello everyone .... doing my usual strolls on google, I found something very interesting and relevant I would say with my blog the dance art of communication ... Who says that the deaf can not dance? Read here ..... Sordi I dance the "Braille "
Few know the history of deaf people, very few of their culture. Deaf people in our country developed, are considered disabled, ie disabled, ie unable to live a "normal" life. Recently on Channel 4, TV's former Berlusconi's Fininvest, the 'deaf actress Marlee Matlin (Oscar-winner' s performance in Children of a Lesser God) is the protagonist of a television series titled "Reasonable Doubt" in which he plays the role of a prosecutor (state attorney) deaf.
Many believe that the Deaf signers can not do the Lawyers, denies this show. And it's not only show ... In the U.S. there is an 'important Lawyers Association of the Deaf who exercise regularly (with the help of professional interpreters). In Italy a deaf person would be many difficulties, not only for the study, if you would become a lawyer!
And if you wanted to become a dancer? Impossible, say the hearing people. But no, as well as American dance companies, there was founded in 1967, the DEMAMA DANCE COMPANY formed exclusively by deaf dancers. This company charged Israel with considerable success in the 70s all over the world. The Company was directed by choreographer Moshe Efrati, who decided in 1975 to create a new company: 'Efrati Dance Company, with deaf dancers. In 1978 the two airlines merged and led by Efrati was born a company of deaf and hearing the call Moshe Efrati Koldmama Dance Company. Worldwide, the company has received great appreciation from audiences and critics. Deaf people involved in the dance by the sounds vibrated, the techniques of Dance multiple revisited by Moshe Efrati have become very pronounced rhythm. This feature
. or new form of dance is called "Braille." Everything revolves around the vision of rhythm. Today, deaf professional dancers of the company were only three, only one of them takes part in the show and is torunée in Italy. It still justifies the name of the company (Demama silence actually means), but once the Deaf represented at least 50% of the company. Efrati, to avoid misunderstandings, keep telling everyone not to be a therapist and we also want to emphasize this fact. It is not method or treatment for "hearing" is not dance-therapy (wanting to coin a term similar to the music therapy!). Instead, it is a company with professional deaf dancers who dance like everyone else, no particular reason. Not even to show the world that deaf people can, like the deaf, exercise any profession. However the fact remains, enjoyable for us because it confirms what has long argued, that before saying to the deaf that is impossible for them to do upon any one thing, it should be well thought.
deaf dancers of this and other companies are the living answer to what hearing people, who still are surprised, unaware of the deafness and the potential (intellectual, cognitive, professional, creative ...) of deaf people. Even the Deaf Italians have a new opportunity to reflect ... So far they have agreed to be "inferior" to accept their "disability" hearing and then to believe that they can not perform certain jobs. Perhaps it is the case for review, and forever, these prejudices.
The spectacle of the Israeli company is called Y BACK CAMINA and was presented successfully in Mexico. The story belongs to history and Jewish Culture, is the story of Sephardic Jews, the Jews of Spain, which dates back to 1492 (year of the discovery of 'America, but also the year of the expulsion of English Jews because of the' Inquisition). In the show it represents the figure of 'wandering jew walking and walking, as the voice of Yossi Banai (famous Israeli actor) between the sheet music you listen in English-Sephardic-Jewish, and Italian translation approximate. Unfortunately, the show is designed for deaf and text has no translation in sign language to allow deaf people to understand it. However, even the deaf can really appreciate the original, because few know the languages \u200b\u200bmentioned.
addition to the music and sounds (and sound Demama Kol means, as already mentioned is the Silence) creates a special atmosphere. Because they thought of it that the show is not aimed at deaf people, has no such intention. Our deaf friends can still appreciate the language of modern dance, full of symbolic movements (toward the earth, the dust that Jews stand up while walking your eyes look down with his head down, but perhaps the heart sails between the hopes ... and the dance steps may redeem the condition of the oppressed and persecuted in a bound, in a sign-up, 77 times and forever free to the sky). Marco
Consulates
(July 1993, during the tour of Italy in the Israeli dance company).
In my opinion because everyone can dance .. dance .. dance music is something that you have inside, is a melody that everyone keeps in his heart!

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What software for teaching the deaf child?

What educational software

for the deaf child?

click on the link.



Maria Laura .

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The shadow illuminated. Even with Tommaso Russo Tommaso Russo Cardona

Shadow enlightened

still Tommaso Russo Cardona

No, Time, thou shalt not boast That I do change.

sign languages \u200b\u200bwas released in March 2007, but for all the consequences

takes time: already through presentations and discussions

public (especially in Rome and Siena), but especially then, rereading it, even

with students in courses in which we adopted, we see

better than the overall look and philosophical theory of strong

of language and signs that it brings about these languages \u200b\u200bverbal

wrongly considered 'minor' reopen consideration of the widely

notions that we took for granted, on languages \u200b\u200band language *. To deepen points

Also in 2007, is published in international collaboration in the article by Paola

Pietrandrea "Diagrammatic Iconicity in and Imagic

Verbal and Signed Languages', which is further continued, at the beginning of 2008 the number of

'Gesture' care by Thomas himself, with "Metaphors

in Sign Languages \u200b\u200band Gesturing in co-verbal".

In 2007, still leaving in July, "On the formative language of the sign, and in September

" Implicit and intent ": the first article takes

inspired by a new text to arrive at the relationship pensierolinguaggio Saussure,

the second goes down to pragmatic questions central to the debate

more philosophical. A step further, linking the research to that on the Saussurean

instrumental and communicative gestures, human article

"Asymétries du signe: outils, gestes, mots / signes", was published this year on

Cahiers F. de Saussure "60 (2007 [but 2008]). In the reports

and discussions of the XV Meeting of the Society for the Philosophy of Language,

in September 2008 in Arcavacata, the contributions of Thomas are

mentioned several times, as had happened at the Conference Previous to Siena.

Meanwhile Grace Basile revised editorially vicissitudes of irony,

that is being published by Meltemi, and which connects the themes

published in this same track, "Bulletin of philosophy." We compare

well with another of his great book that explores the relationship between communicative acts,

context of utterance, the role of language in the cast

movement and rearranging ritualized situations, beliefs and emotions of the speaker

to agree and disagree with those of its partners.

By Emanuele Fadda and Alex Chidester, predisposing

publication in the next issue of Cahiers F. de Saussure "of" negativity,

récursivité et incalculabilité ", we have further realized

how brave and fertile research of Thomas, who has already imposed

to review our articles to accompany her. With the article "Système,

jeu et emploi des signes", to be published next year, rising to

five essays that Thomas has since 2004 dedicated to deepen a

Saussure unusual both for the texts is called into question theoretical questions for which answers

. It's just that Her next work this bait in a collective volume

agrees with the orientation.

Other tests are still in preparation, on oral languages \u200b\u200band sign languages,

iconicity and metaphor, irony and silence, use and play of signs, formative

of language, temporality, and mind. In the bibliography below shows

only those in an advanced state of publication: then will the updates.

Who has the privilege of caring begins thinking of making this work

service, and he learns to derive a considerable benefit.

Thomas is the co-worker who knows you well, you are always on the side, and before that

you ask him something, he is ready to give it when you need

. Fellow worker who has a lot to give, and thus much to ask.

Firstly, a slow and careful reading, which put aside any prejudice and any interpretation

fast that even the best rebuild

also opposing arguments, and confrontations with them, whereas we need every

research perspective, and that means a mock

make them all empty. In short, the opposite of the prevailing immorality in

Italian universities, asking where you stand, and has quickly

who subscribes to a position as if the enlisted soldier in an army (the

her, or that of the enemy). Thomas knows how to listen to everyone, drawing from each

the best, and collaborate with everyone carrying and giving to others

a spirit of openness that the different trends of philosophy of language,

semiotic, cognitive and analytical, have learned to appreciate. Espouse

from some great authors, Peirce, Saussure and Wittgenstein, makes them work

issues we face, as they appear today, extending

to their limits, and looking over.

At this time, the working group's philosophy

language that has found a center of gravity to Arcavacata is renewed, because, as early as 13

past few friends who have had a central role in it are

going to other universities. But the strength of a rope - Wittgenstein says

a similar phenomenon - is not given by a thread that runs in

whole length, but the interweaving and overlapping of pieces of wire.

Just the fact that the conversation is not interrupted with Thomas

is the strongest guarantee of continuity through change. It will be his presence

content and method of work common to return often and keep us

still close friends moved to other locations, will be its

perspective and style to attract and integrate into the working group

new collaborators and friends to come. It's up to us to ensure that even those who knew him

not to notice that there is someone from whom we learned

the revolutionary virtues of patience and irony, without which the passions

are flashes in the pan, and that in our smile is the echo of a smile that we saw

become beautiful, to hide a growing pain.

would be hard not to be faithful, with the fidelity with which the outline

autumn and winter, and winter into spring.

* See the review by Donald Chirico in this volume.

DANIELE Gambarara

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Publications

Publications by Tommaso RUSSO

(2007 Tommaso Russo Cardona)

Rome, October 26, 1970 - September 13, 2007

September 1996 - October 1999 Ph.D. in Philosophy of Language (University of Palermo, Calabria and Rome 1)

November 2000 - October 2002 professor of Sociolinguistics, University of Bologna

December 2000 - December 2002 held post-doctoral, University of Calabria

February 2003 - February 2005 research grant, University of Calabria

November 2005 - September 2007 researcher at the university level in Philosophy of Language, University of Calabria

1995

01) Tommaso RUSSO, proper names and identification. Peirce, Wittgenstein, Levi-Strauss and some

contemporary linguistic theories. Thesis on the Philosophy of Language at the University of Rome "La Sapienza", April 21, 1995, rapporteur Tullio De Mauro, Massimo co Prampolini, vote 110/110 cum laude.

1997

02) Anna Maria Peruzzi, Paolo Rossini, Tommaso Russo and Virginia Volterra, "Proper names in the LIS, or name signs." In: Maria Cristina Caselli and Serena Corazza (Ed.), LIS: Research experiences and research on sign language in Italy (Proceedings of the National Conference on LIS Trieste 13 to 15 October 1995). Tirrenia (Pisa): Edizioni del Cerro, 1997, ISBN 88-8216-009-2, pp. 260-265.

03) Thomas Russo, "name signs in the deaf community and cultural identity in Italy."

In: Amir Zuccalà (ed.), Culture of gesture and culture of the word. Anthropological trip in the world of the Deaf (Proceedings, University of Rome 15 to 16 April 1996). Rome: Meltemi (The Argonauts), 1997, ISBN 88-86479-33-6, pp. 69-83.

04) Thomas Russo, "Iconicity and metaphor in the LIS. In: Philosophy of Language. Theory and History [II] (Preprints of the Conference, 2-3 October 1997). Rende (CS): Department of Philosophy, University of Calabria, pp. 136-141.

05) Thomas Russo, Texts for the transmission and the site average, 1997-1999

www.mediamente.rai.it/home/tv2rete/mm9798/tematich/

www.mediamente.rai. it/home/tv2rete/mm9899/tematich /

1998

06) RUSSO Thomas & Elena Pizzuto, "Iconicity and metaphors in Italian Sign Language poetry: the shift from functional phonological to morphological parameters values \u200b\u200bof sign elements. " Paper presented at the 2nd Intersign ESF Workshop (Leiden December 1998: Phonology). Abstract online at: www.sign-lang.uni-hamburg.de/ BibWeb/LiDat.acgi?ID=49431

1999

07) Elena PIZZUTO, Barbara ARDITO, Daniela FABBRETTI, Mari Luz PEREA COSTA, Paola PIETRANDREA, Paolo ROSSINI & Tommaso RUSSO, “Italian Sign Language (LIS): text corpora and notation systems”. Paper presented at the 3rd Intersign ESF Workshop (Siena Pontignano 12-15 march 1999: Morphosyntax: text corpora and tagging). Abstract online at: www.sign-lang.uni-hamburg.de/Intersign/Workshop3/Pizutto.html

2000

08) Thomas Russo, images and metaphors in spoken languages \u200b\u200band marked. Semiotic models and applications to LIS (Italian Sign Language), PhD thesis in Philosophy of Language: Theory and History (University of Palermo, Calabria, Rome "La Sapienza"), XI cycle (1996-1999; filed in December 1999, discussion held February 10, 2000). Thesis Supervisor: Anthony Pennisi, Player: Elena Pizzuto, Ph.D. Coordinator: Franco Lo Piparo [cf. 27].

09) Thomas Russo, "A sense of conscience and senses. Some reflections on sign language. 'Ou. Reflections and provocations ", IX (2000, No 1) (= sense of meaning, by Federica Vercillo. Napoli: Italian Oxford University Press), pp. 105-110.

10) Anna Maria Peruzzi, Paolo Rossini, Tommaso Russo and Virginia Volterra, "Signs name and personal identity in the LIS. In: Catherine BAGNARA, Giampaolo Chiappini, Maria Pia Conte and Michael Ott (ed.), Journey into the Invisible City (Proceedings of the Second National Conference on LIS, Genoa 25 to 27 September 1998). Tirrenia (Pisa): Edizioni del Cerro, 2000, ISBN 88-8216-088-2, pp. 488-494.

Giuranna Rosaria and Joseph Giuranna Seven poems in Italian Sign Language (LIS).

CD-ROM + booklet, prototype, preedizione Rome: Institute of Psychology - CNR,

2000 [cf.19-20]

The accompanying booklet contains:

11) PIZZA and Helen Thomas Russia, "Presentation".

12) Thomas Russo, "Synthesis of the poems."

13) Tommaso RUSSO, The crosslinguistic study of poetical texts in vocal and signed languages: productivity, redundancy and form-function relations in a LIS (Italian Sign Language) poem. " Paper presented at the 7th International Conference on Theoretical Issues in Sign Language Research (TISLP 7, Amsterdam July 23rd-27th 2000). Abstract online at:

www.sign-lang.uni-hamburg.de/BibWeb/LiDat.acgi?ID=52873

2001

14) Tommaso RUSSO, Rosaria GIURANNA & Elena PIZZUTO, “Italian Sign Language (LIS) poetry: iconic properties and structural regularities”. «Sign Language Studies», 2.1 (Fall 2001, Special Issue), Print ISSN: 0302-1475, E-ISSN: 1533-6263, Gallaudet University Press, pp. 84 112.

http://muse.jhu.edu/journals/sign_language_studies/v002/2.1russo.html o .pdf

with an animated clip from the poem "The Clock" http://gupress.gallaudet.edu/1.avi

14a) A preliminary version (March 14, 2000) is online at:

www.sign-lang.uni-hamburg.de/intersign/Workshop2/Russo_Pizzuto/Russo_Pizzuto.html

15) Thomas Russo, "deaf and deaf-blind: theories and state of the art. In: Anthony Pennisi and Rosalia KNIGHTS (ed.), Disorders of language and cognitive sciences. Bologna: Il Mulino (path), December 2001, ISBN 88-15-08457-6, 9788815084576, pp. 51-99.

16) Thomas Russo and Elena Pizzuto, "visual music in Italian Sign Language: an invitation to discover an unknown poetic universe." "Crossover Festival Magazine" (edited by Charles Rea), n. 1 July 2001 (Civitella del Tronto, TE), p. 28. 2002

17) COUNTESS Roberto, Marco Mazzei and Thomas Russo (Eds.), Language perception and sensory bases of linguistic communication (Proceedings University of Rome "La Sapienza" 15-16 February 2002) . Rome: Carocci (Library of texts and studies / Linguistics 203), October 2002, ISBN 88-430-2431-0, 9788843024315, 144 pp.

18) Thomas Russo, "Antinorma poetic rhythm and metaphor: between sign languages \u200b\u200band spoken languages." In: COUNTESS, Mazzeo and RUSSO (ed.), Language and perception, Roma 2002 [17], pp. 88-98.

Giuranna Rosaria and Joseph Giuranna Seven poems in Italian Sign Language (LIS).

CD-ROM + booklet 16 pages., Tirrenia (PI). Edizioni del Cerro, 2002 (and 2003) 2nd edition, ISBN 88-8216-137-4 [cf. 11-12]. The accompanying booklet contains: 19) Elena Pizzuto and Thomas Russo, "Presentation".

20) Thomas Russo, "Synthesis of the poems."

21) Thomas Russo, "Systems anthroponyms and personal identity: notes on the semantics of proper names." "Italian Journal of Onomastics (Rioni), VIII / 1 (2002), ISSN 1124-8890, pp. 29-57.

22) Thomas Russo, "proper names" [Reviewed by: Rita Caprini, proper names, Alessandria: Edizioni Bear, 2001]. "Italian Journal of Onomastics (Rioni), VIII / 1

(2002), pp. 183-187.

23) Thomas Russo, "The symbolic species" [Reviewed by: Terrence W. Deacon, The symbolic species. Coevolution language and brain, London: John Fioritti Editore, 2001]. Annals of the Institute of Health (ISSA), 38 / 1 (2002), ISSN 0021-2571, pp. 97-100. http://www.iss.it/binary/publ/publi/381rece.1108638531.pdf

2003

24) Thomas Russo, "Metaphors as ipoicone in the languages \u200b\u200bof signs and languages \u200b\u200bspoken. " In: Aureliano Pacciolla NATOLI and Natalino (ed.), Metaphor and psychology. Roma: Laurus Robuffo, 2003, ISBN 88-8087-348-2, 9788880873488, pp. 391-433.

25) Thomas Russo, "Metaphors and understanding between signs, gestures and words. " In: Pacciolla and NATOLI (ed.), Metaphor and psychology, Rome 2003 [as 24], pp. 435-467.

26) Thomas Russo, "Sensi individual and shared meanings: sensory disorders, speech and symbolic play AUTOPHASE SEQUENCING" [Seminar held at the University of Calabria, April 5, 2000]. "Bulletin of philosophy" (Univ. of Calabria), n. 18 (2002) [but in January 2003] (= doctoral Chronicles, edited by Daniel Gambarara), ISSN 1593-7178, pp. 290-313.

2004

27) Thomas Russo, the map resting on the island. Metaphor and iconicity in sign languages \u200b\u200band the languages \u200b\u200bspoken. Rende (CS): Publishing Center and Library, University of Calabria (CELUC), Series "Philosophy of Language: Theory and History", September 2004, ISBN 88-7458-017-7, 350 pages [cf. 08].

28) Thomas Russo, "Iconicity and Productivity in Sign Language Discourse: an analysis of three LIS discourse registers. "Sign Language Studies, 4.2 (Winter 2004), pp. 164-197.

29) Thomas Russo, "How is made a sign language." In: Stefano Gensini (ed.), Handbook of semiotics. Rome: Carocci (University / Communication and Semiotics 562), 1st ed. March 2004, third reprint 2007, ISBN 88-430-2922-3, 9788843029228, pp. 359-382.

2005

30) Thomas Russo, "Metaphors as ipoicone. The size of the iconic metaphors in spoken languages \u200b\u200band sign languages. " "Versus: Notebooks of semiotic studies," No 97 (2005) ISSN 0393-8255, pp. 151-177.

31) RUSSO Thomas & Virginia Volterra, "Comment on" Children Creating Core Properties of Language: Evidence from an Emerging Sign Language in Nicaragua ". "Science 309, 56b. (July 1, 2005).

http://www.sciencemag.org/cgi/reprint/309/5731/56b.pdf

Cf Ann SENGHAS, Asli ÖZYÜREK, and Sotaro KITA, Response to Comment on "Children Creating Core Properties of Language: Evidence from an Emerging Sign Language in Nicaragua "," Science 309 (5731), 56c.

32) and Tommaso RUSSO Tiziana Zalla, "disorders of cognitive development and communication."

In: Francesco Ferretti and Gambarara Daniele (ed.), Communication and cognitive science. Roma-Bari: Laterza (Library of Modern Culture, 1180), March 2005, ISBN 88-420-7588-4, 9788842075882, pp. 153-190.

33) Thomas Russo, "Stereo and substandard writing syntax of Italian teenagers: a comparison between the syntactic and textual strategies of deaf and hearing Romans."

In: Joseph ARDRIZZO Gambarara and Daniele (ed.), The Communication young (Proceedings Majise, University of Calabria, January 26, 2001). Soveria Mannelli (CZ): Rubettino, April 2005, ISBN 88-498-1245-0, 9788849812459, pp. 321-343.

34) Thomas Russo, "A Crosslinguistic, Cross-Cultural Analysis of Metaphors in Two Italian Sign Language (LIS) Registers. " "Sign Language Studies; 5: 3 (Spring 2005, Special Issue: Metaphor in Signed Languages), pp. 333-359.

35) Thomas Russo, "A lexicon of frequency of the LIS. In: Tullio De Mauro and Isabella CLEAR (ed.), Words and numbers. Quantitative analysis of the facts of language. Rome: Arachne, March-April 2005, ISBN 88-548-0040-6, 9788854800403, pp. 277-290.

36) Elena Pizzuto, Paolo Rossini, Tommaso Russo and Erin Wilkinson, "Formation of words, visual-gestural and grammatical classes in Italian Sign Language (LIS) data available and unanswered questions. " In: Maria and Anna M. GROSSMANN THORNTON (ed.), The formation of words. (Proceedings of the XXXVII Congress internat. Study of the Society of Italian Linguistics - SLI, L'Aquila 25 to 27 September 2003). Rome: Bulzoni (Publications of the SLI 48) December 2005, ISBN 88-7870-093-2, pp. 443-463.

37) Thomas Russo, "Language and Hegemony in Gramsci" [Review of: Peter Ives, Language and Hegemony in Gramsci, London: Pluto Press, 2004]. "International Review of Sociology", 15, 2 July, 2005, pp. 397-401

38) Thomas Russo, "Review of: Tullio De Mauro, translation, introduction and notes by F. De Saussure, unpublished Writings in General Linguistics, Roma-Bari: Laterza, 2005. " "Bulletin of Italian Studies', IV, 2005, ISSN 0168-7298, pp. 278-284. 2006

39) FLOWER Barbara and Thomas Russo, "in ritual and divination." "Forms of Life" 5 / 2006 (= The rite of nature and culture), Proceedings of Salerno giugno2005 10-11. Rome: DeriveApprodi, April 2006), ISBN 88-88738-99-1, 9788888738994, pp. 98-120.

40) Thomas Russo, Compte Rendu de: "F. de Saussure, unpublished Writings in General Linguistics, trans. introd. e note di Tullio De Mauro, Roma-Bari: Laterza, 2005”. «Cahiers Ferdinand de Saussure» 58 (2005) [ma marzo 2006], ISSN 0068-516-X, ISBN 2- 600-01070-X, pp.299-308.

41) Elena PIZZUTO, Paolo ROSSINI, e Tommaso RUSSO, “Representing signed languages in written form: questions that need to be posed”. In: Chiara VETTORI (ed.), Proceedings of the Second Workshop on the Representation and Processing of Sign Languages: Lexicographic Matters and Didactic Senarios (LREC 2006 – 5th International Conference on Language Resources and Evaluation, Genoa, May 28th 2006). Paris: ELRA, 2006, pp. 1-6.

42) Tommaso Russ, "Metaphors and Blending in LIS (Italian Sign Language) discourse: a window on the interaction of language and thought." In: Quadros, M. Ronice in (ed.): TISLR 9: Theoretical Issues in Sign Language Research 9 (9 International Congress of Theoretical Aspects of research in Sign Language. December 6 to 9, 2006, Universidade Federal de Santa Catarina Florianópolis, SC Brazil). Florianópolis: Lagoa Editora, 2006, pp. 183-184. Cf Terry Janz and Sherman Wilcox (eds.), Cognitive Dimensions of Signed Languages. "Cognitive Linguistic '15 (2004).

43) Grazia Basile and Tommaso Russ, "GMOs, Italian Stampa (2003-2005)." Rome: (Genetic Rights Council) MediaBiotech, report # 1 / 2005 [but 2006], 49 pp. 2007

44) CARDONA Thomas Russo and Virginia Volterra, sign language. History and Semiotics. Rome: Carocci (Quality Paperbacks 207), March 2007, ISBN 9788843040575, 153 pages.

45) Tommaso RUSSO CARDONA, "Catastrophe and irony." 'Forms of Life "6 / 2007 (= Logic and anthropology). Rome: DeriveApprodi, February 2007, ISBN 788 889 969 229, pp. 85-104.

46) Tommaso RUSSO CARDONA, "The ontogenesis as first Philosophy" [Review by David Gargani, The Birth of meaning, language and experience in the ontogeny of verbal meaning, Perugia: Guerra Ed., 2004]. 'Forms of Life "6 / 2007 (= Logic and anthropology). Rome: DeriveApprodi, February 2007, ISBN 788 889 969 229, pp. 216-221.

47) Tommaso RUSSO CARDONA, "On the formative language of the sign in Saussure wrote De l'essence double du langage". In: Hannah Elias and Marina De Palo (eds.), The lesson of Saussure. Essays in linguistics epistemology (Proceedings University of Salerno June 18, 2004). Carocci (Notebooks), July 2007, ISBN 9788843041770, pp. 171-186. 48) Tommaso RUSSO CARDONA, "Implicit and intentionality. The intersubjective dimension of intentionality in the speech

fragmented or reticent. " In: Raffaella PETRILLI2005. Rome: DeriveApprodi, April 2006), ISBN 88-88738-99-1, 9788888738994, pp. 98-120.

48) Tommaso RUSSO CARDONA, "Implicit and intentionality. The intersubjective dimension of intentionality in the speech fragmented or reticent. " In: Raffaella PETRILLO Diego FEMIA (eds.), The thread of discourse. Weaves textual language joints, compositions logic (Proceedings of the XIII National Congress of the Society for the Philosophy of Language, Viterbo 14 to 16 September 2006). Rome: Arachne (Publications of the Society for the Philosophy of Language 04), September 2007, ISBN 9788854813311, pp. 91-109.

49) Paola PIETRANDREA and Thomas Russo, "Diagrammatic Iconicity and Imagic in Verbal and Signed Languages." In: Elena Pizzuto, Paola PIETRANDREA & Raffaele SIMONE (eds.), Signed and Verbal Languages: Comparing Structures, Constructs and Methodologies (Colloquium Proceedings of the internat. Roma 4 to 5 October 2004). Mouton De Gruyter (Empirical Approaches to Language Typology [EALTA] 36), 2007. ISBN 978-3-11-019585-9, pp. 35-36. 2008

50) Adam Kendon and Tommaso Russo Cardona (eds.), Dimensions of gesture. 'Gesture', 8 / 1 (2008) Special Issue (Proceedings of the Conference's gesture in the Mediterranean, Procida, 20-23 October 2005). Amsterdam: Benjamins.

51) Tommaso RUSSO CARDONA, "Metaphors in Sign Languages \u200b\u200band Gesturing in co-verbal". In: Kendon, and Russo Cardona (eds.), Dimensions of gesture, "Gesture," 8 / 1 (2008) [50], pp. 62-81.

52) Tommaso RUSSO CARDONA, "Asymétries du signe: outils, gestes, mots / signes" (Report to the Round Table XXXVI Congress of the ISSA, University of Calabria, November 17, 2006). Cahiers Ferdinand de Saussure "60 (2007) [but in May 2008], pp. 107-122.

53) Thomas Russo, "Irony: emotions and horizon of consciousness" [Seminar held at the University of Calabria, April 2007]. "Bulletin of philosophy" (Univ. of Calabria), n. 24 (2008) (= language and emotions, edited by Felice Cimatti), ISSN 1593-7178, pp. 223-237.

PUBLICATION IN

54) Tommaso RUSSO CARDONA, vicissitudes of irony. Study on the ironic reversal, Rome: Meltemi, in corso di stampa.

55) Tommaso RUSSO CARDONA, "Negativity, recursion and unpredicta: quaternions in" The Essence of dual language "" Cahiers Ferdinand de Saussure, 61 (2008) in corso di stampa.

56) Tommaso RUSSO CARDONA, "Health, game signs and employment in" The Essence of dual language "(Relazione al convegno Presentata" Rileggere Saussure, "Ragusa, 28-29 Aprile 2006) . In: Daniele Gambarare (a cura di), The spirit of language. A trip to Italy Saussure, in Pubblicazioni.

57) Tommaso Russo Cardona, the embroidery of the signs. A journey into the land of the deaf through their poetry, in preparation.