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STEREOTYPE AS A KEY TO THE LINGUISTIC
WORLDVIEW OF THE CZECH DEAF: PART 3

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Let us now commence
the last, third part,

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which should be most closely
related to sign languages.

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From time to time, I will ask Marie

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to show us some signs, so you will
also see something from CzSL.

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The third part will also show
what motivated me to

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to call my talk

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"Stereotype as a Key to the Linguistic
Worldview of the Czech Deaf".

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Let me refer here to
the well-known paper

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by Phillis Wilcox from 2004,

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whose title also features the "key".

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You can see
the bibliographic entry at the bottom.

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Let me at least mention her in this way
to make her somewhat present here.

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I liked the fictionalized manner
in which the treatise was written.

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It features a Deaf man named Jose.

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At the very beginning, Jose takes
a key out of his trousers pocket.

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He places the key to his forehead

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and turns it in an unlocking motion.

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The author then explains
that this physical act

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reveals the rich cognitive structure of

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metaphors and metonymies
in the American Sign Language,

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which are, in a certain way, linked to
thinking and cognitivity in general,

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to memory, learning etc.

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I googled up some pictures

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which could give us an idea about it

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and which could show us
that this is possible in any...

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Or better to say that
it is also possible in the art code,

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that this metaphor may be represented
not only in spoken languages,

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not only in sign languages
but also e.g. in various kinds of art.

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If Phyllis Wilcox was present here,

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she would certainly
speak about double mapping,

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namely about iconic-metaphoric mapping
and iconic-metonymic mapping.

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This is a crucial topic
in the cognitive linguistics of SL.

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I'd also like to show the importance of
the topic in relation to stereotypes

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and that it is especially by means of
the iconic-metonymic mapping

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that stereotypes are formed.

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As for metaphors,
let us set them aside for today

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because there are
too many issues at once

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and we should have
some particular focus.

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On the Internet I also found
other pictures, showing that

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the scenario of unlocking
and the key may be

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represented in different context.

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I.e. that we can pretend
unlocking our heads,

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but also unlocking our hearts

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or, in case of spoken language users,
unlocking or locking our mouths.

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This shows that all these
are combinations

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of iconically represented
metaphors and metonymies.

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"Unlocking", "opening" is a repository

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which is important
in connection with certain processes

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in our minds, emotions,

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in communication etc.

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I.e. in domains so abstract that

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they do not allow us to experience them
in a concrete, sensory manner.

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Consequently,
we need other domains,

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e.g. the unlocking, opening
(in the direct sense of the word),

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to be able to speak
about the abstract ones.

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I.e. the unlocking and opening
in the sense of

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engaging the cognitive structure,
recalling something,

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of having and idea,
getting something going,

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of a mind etc. is a metaphor.

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Then there is the metonymic element,

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i.e. that the unlocking, opening
takes place in the head area.

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Because as we know,
our heads store our brains

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and this is implied in a certain way
even in a common, naive worldview.

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And we link the cognitivity-related
metaphors with the head,

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be it in pictures,

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i.e. that the lock or key
is placed to the head,

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or in the sign, the signs being
shown at the head position.

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Phyllis Wilcox shows many of these
cognitivity-related metaphors in ASL.

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The same applies for metonymies.

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We have also
Czech works at our disposal

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dealing with
the metaphors of thinking,

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of cognitivity,
memory, learning in CzSL.

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So this works
in spoken languages, too,

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and is probably
something shared, universal.

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The possibility to "unlock" the heart
refers to another metonymy,

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one connected with feelings, emotions as
this is what hearts are connected with.

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Or, alternatively, with love.

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This is clearly the case of
partner love, erotic love.

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Then there is the mouth,
with the metonymical link to speaking.

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The following reflections should
thus relate to the methods of

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how stereotypes are constructed
in SL and language in general,

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how meaning in SL and language
in general is expanded, transferred.

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The double-mapping in SL
will then be covered

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based on examples of

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stereotypes of
well-known personalities

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and name signs in CzSL.

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As I said, I would now ask Marie
Basovníková to assist with demonstration

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and this is the moment
when she will demonstrate

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the sign representing
the "key" in CzSL.

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This is what the sign "key" looks like.

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We can also use the form
which omits the passive hand,

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a single-handed sign.

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I will deal with the example of the key

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in a completely different spirit
than professor Wilcox did.

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What caught my attention is
the sign for "St. Peter".

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-This is what Marie is showing us now.
-This is what the sign looks like.

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You can see that
the sign for "key" is present there.

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The next one is
the name sign for "Peter".

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This is the sign for
everybody named "Peter".

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Thank you for now.

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As you can see,

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"St. Peter" is a sign

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employing iconic-metonymic mapping.

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The metonymy lies in the fact

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that St. Peter's attribute,
i.e. the key,

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represents the entire
personality of St. Peter.

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St. Peter was the first Roman bishop.

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A lot can be read about him in Gospels.

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He occurs in Christ's numerous stories.

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E.g. Christ tells him: "You are the rock
upon which I will build the Church."

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This is because the name Peter
refers to the Greek word for "rock".

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The Christ also tells Peter:

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"You are a fisherman
but you will be a fisherman of people."

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I.e. another aspect in connection
with Peter might be standing out:

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His being a fisherman.

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Another attribute which could be taken
into account in the sign is a "cock".

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You can see that
it is portrayed in the third picture.

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This is because, as per the Gospels,
Peter betrayed Christ three times

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before the crowing of a cock.

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And this can occurs
in certain representations.

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But the CzSL opted for
the attribute of key.

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You can see that it is not only the CzSL
but also iconography of the saints.

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By looking into an encyclopedia at
pictorial representations of st. Peter,

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we would most probably see
that they always feature the key.

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I found three pictures
and you can see the key in all of them.

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Peter carries the key
in his capacity of the celestial warden.

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I.e. it is his attribute,
it is iconic-metonymic mapping.

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And there is also one more transfer:

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Whoever bears this saint's name,

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the sign for them is the "key".

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This is another transfer,
another case of mapping.

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The sign for "Peter"
in CzSL is a very old one.

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There is a group of
the so-called old Christian signs

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to designate the saints.

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These are signs from the period

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in which the Deaf
studied primarily religion.

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And when their educators,
in particular nuns,

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narrated the stories to them,

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the saints were given names on the basis
of their most significant attributes.

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We will come back to this later.

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I decided to

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demonstrate the method
of how stereotypes are constructed

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on signs for well-known,
prominent personalities in CzSL.

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I did a brief research
on the given topic.

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And let me show you
an even smaller sample of the examples.

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Not for you to learn certain CzSL signs

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but rather for methodological reasons,
i.e. to show you the method.

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These are known matters, employed also
in construction of name signs.

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When we were introducing ourselves,
many of you showed your name sign.

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We know that they are also motivated by
the bearer's marked physical attributes,

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that it can be e.g. the following:

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Would Marie be so kind
and show us again?

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That it can be e.g.
a moustache, a beard.

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Lenin...

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Lenin... Stalin...

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This is what the sign
for Lenin looks like.

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Stalin...

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Here is another name sign, this time for
Stalin, referring to the moustache.

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And Hitler...

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This is what the name sign
for Hitler looks like.

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It refers not only to the moustache
but also to the fascist salute.

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We can see here that this will fit into
the second group that I drafted,

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one related to the typical scenarios.

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As you can see, this is again
the case of iconic-metonymic mapping.

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One noticeable part
represents the entire person.

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I'd also like to point out the name sign
for John Amos Comenius: a beard.

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This is what the name sign
"Comenius" looks like.

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There is also this sign,
based on the hat.

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We keep learning new things.

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Just for our colleagues: The man
in question is portrayed in the picture.

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-John Amos Comenius.
-The teacher of nations.

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These are the two options
of how to use his name sign.

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The name sign for Albert Einstein
will also have two variants.

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Originally, I thought his name sign
would reflect his voluptuous hair.

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That is what I was told
by some Deaf but Marie...

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This is the first option.

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And the second option...

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And this is the second option.

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This is based on his tongue. You surely
know the famed "stuck-out tongue" photo.

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Hence the sign.

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This is very interesting because

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the photo is perhaps better known
than anything else about Einstein.

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Possibly, I'm not sure.

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But the hair is very striking and,
when searching in Google Pics

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for Albert Einstein,
these three pictures will pop up.

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The child with a mask of
Albert Einstein also springs up.

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And we are able to decipher that someone
disguised it to look like Einstein.

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I.e. the issue in question are
generally perceived noticeable features.

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The last name sign
of this circle is one for

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the Czech commander Jan Žižka.

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Jan Žižka...
Let me go back one step...

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-Žižka was born in 1360...
-Excuse me: This is his name sign.

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This is what
his name sign looks like.

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I.e. the eye patch.

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This commander lived at the turn
of the 13th and 14th century.

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He was a Hussite commander.

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What is best known about him, even for
small children, is his eye patch.

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I'd also like to point out
the visually accessible codes here.

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Žižka's statue, or any picture of him,

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must include this attribute.

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The covered eye, the eye patch.

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Excuse me, there is a request
from among the audience.

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Can we repeat his name
or show it on the slide?

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This is for our foreign audience.

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-Thank you. -I am sorry,
I have not taken this into account.

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There is also an old Czech film
dealing with the Hussite wars.

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Here we can see the actor playing Žižka.

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He must have
the indispensable eye patch.

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And this is also
present in sign languages.

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So much for the first sphere,
i.e. striking features of appearance

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borne by the given personalities
which we label with the name signs.

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The second column or "drawer":

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It contains the cases of signs
motivated by an important event,

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activity or behaviour
of a certain personality.

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A scenario of the personality's
life story is evoked in it.

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And a part of the scenario
is something featuring in the sign.

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As for the categorization,

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it is not possible to say:
This is one group, this is another one.

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There is a large transition zone.

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I.e. we wouldn't know how to classify
many signs as they are borderline cases.

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This might be the case
of the sign for St. Peter.

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Now I'd like to bring back the signs for
the saints. They will be shown by Marie.

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On the one hand, there are the "key"
and "unlocking" signs for St. Peter.

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-St. Peter is shown in this way.
-He is unlocking.

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-Here we can see the double-handed
sign for Stephen. -Yes, St. Stephen.

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St. Stephen was a saint
who was stoned to death.

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I.e. the sign represents
the stones falling on his chest.

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The next one is the Czech saint Ludmila.

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She was St. Wenceslas' grandmother.

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She was strangled to death.

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And here is the sign for Ludmila.

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The sign for Ludmila reflects
a tying movement under the throat.

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She was strangled
with a headscarf.

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So this is St. Ludmila.

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And the last sign, stabbing with
a lance, representing St. George.

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This is what the sign
for St. George looks like.

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All this is iconic-metonymic mapping.

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You can see that the signs are dynamic,
forming a part or a given saint's story.

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Naturally, this kind of motivation
is not employed only in case of saints.

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There is e.g. the sign for Václav Havel.

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Marie will demonstrate it to us.

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-Václav Havel.
-This is the sign for Václav Havel.

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It refers to his known gesture.

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One which was very notable
in November 1989 as well as later.

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So much for the second type.

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Let me ask Marie to stay here for now.

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The third type are calques.

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Here the motivation is,

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one may say, arbitrary.

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Or more precisely, the relationship of
how the sign is shown and of its bearer

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is arbitrary. The sign is motivated by
the meaning of the appellative component

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of the proper noun in Czech.

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E.g. the sign for our famous composer
Bedřich Smetana is one for "cream".

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-Smetana, in English "cream".
-This is what the sign looks like.

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It stands for "cream",
which is used e.g. with coffee.

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The next one is Jan Hus, a historical
Czech figure. His sign reflects...

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Sorry, let us wait
for translation for a while.

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Thank you, we might continue now.

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-And the sign for Hus corresponds to
the one for "goose". -This is the sign.

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It looks like the sign for
the animal called "goose".

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For us, for Czech speakers,
it is something very peculiar,

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funny as it has nothing
in common with the given personality.

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When defining a stereotype, we will
consider these somewhat marginal, too.

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You will see that similar conclusions
were drawn by my colleagues,

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especially Lucie Břinková
for national stereotypes.

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Her materials will be
much more elaborated.

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Let us thank Marie now.

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What remains are only
Conclusion and Food for Thought.

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The question is: Which of the discussed
issues are of rather general validity?

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The construction of meaning in
sign languages has been discussed here.

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Perhaps in languages in general as the
the process is similar in spoken ones.

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Only the iconicity
is not present so much.

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And the question arose

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whether it can say something

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about how stereotypes
in sign languages work.

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As we saw, the stereotypes are mainly
constructed in the metonymical manner.

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A part or an aspect represents the whole

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of what is being expressed,
of the personality,

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i.e. one of his or her features
or a part of his or her life story.

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And the metaphor
is employed far less frequently.

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Why this is the case
is a debatable issue.

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Let me remind you of
what can be considered a metaphor:

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As mentioned, there are e.g. synonymous
expressive designations for "gypsies":

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<i>Kofola</i> (dark beverage),
<i>briketa</i> (literally: "briquette"),

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i.e. it is a black object
based on similarity.

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A briquette, the object, is black.

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The meaning is figurative,
it is a metaphor.

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This is perhaps
less common in sign languages

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but I believe it could
also be discovered in them.

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We have almost come to a close now but
this only refers to the morning block

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as our theme of stereotypes continues.

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There will be 3 special presentations
on stereotypes and their construction:

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On national stereotypes
in sign languages,

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00:29:08.620 --> 00:29:14.934
on stereotypes connected with
the hearing-Deaf opposition,

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on the stereotype of a hearing person in
CzSL and various other sign languages.

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And, lastly, on stereotypes,
or prototypes, connected with colours,

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in order to variegate our research.

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So I believe we will learn
a lot of interesting information here.

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I am looking forward to
the presentations very much.

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I've already seen them
and find them entertaining.

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I am also looking forward to meeting
with the workshops participants here

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after the workshops take place because
they should produce outputs interesting

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from the comparative perspective.

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00:30:03.239 --> 00:30:10.239
I will be looking forward to
your comparative research findings.

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This is where today's morning programme
and my talk come to an end.

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Thank you for your attention.