AC9L2AU10U01 Years 9 to 10 Languages

Content descriptor apply features and conventions of sign production to extend fluency when responding to and creating texts in familiar and unfamiliar contexts

Elaborations

• • Elaboration using NMFs to convey meaning effectively, such as a slightly raised eyebrow or quick eye-gaze change in a role-play or in narrating an event
• • Elaboration understanding that the elements of a sign can be arbitrary, such as the handshape or movement of the sign WHY, or they can be meaningful, such as the handshape and movement of the sign GIVE
• • Elaboration applying knowledge of iconicity in signed languages, for example, how the path movement of a verb can show the timing of an action, for example, PRO1 WAIT DS:FAST-REPEAT PRO2, observing that English can do the same with changes to the length of words, for example, I've been waiting a loooooong time for you
• • Elaboration modifying dominant and non-dominant hands for effect or use one hand only to convey the same meaning as the original 2-hand sign
• • Elaboration understanding the need to modify pace for emphasis in familiar and unfamiliar texts, such as narrating exciting events in a story
• • Elaboration applying fingerspelling restricted to proper nouns and DSs used more frequently to convey meaning
• • Elaboration capturing non-citation forms of signs in a text, such as KNOW, and understanding reasons why such signs may be reduced or displaced for efficiency in conversation

Show 3 more elaborations

• • Elaboration identifying and describing metaphorical iconicity, for example, LOVE, AVOID/RESIST , and discussing how it relates to metaphors in English
• • Elaboration using different NMFs, eye gazing and mannerism to distinguish between minimal pairs in Auslan, and comparing with minimal pairs in English, for example, in Auslan, BATH and EXCITED have a handshape difference to change the meaning of each sign compared with one letter difference in the minimal pairs ‘pin’ and ‘pun’ in English
• • Elaboration noticing limitations on production and perception of signed languages, such as staying seated or standing in one location compared with a wider use of space and movement of whole body and feet for mime