AC9L1AU8EU01

Elaborations

• AC9L1AU8EU01_E1showing how meaning can be expressed through either whole signs or fingerspelling, with NMFs
• AC9L1AU8EU01_E2recognising the variation in ‘handedness’ between signers in relation to both signs and fingerspelling: right handers using their right hand as their dominant (main) hand; left handers doing the opposite
• AC9L1AU8EU01_E3<p>using NMFs to show emotional states such as a happy expression, or grammatical information, for example, a frown to mark a negative in </p><p class="ausltrans">LIKE</p><p> and </p><p class="ausltrans">DISLIKE</p>
• AC9L1AU8EU01_E4<p>using signs with a change in handshape, for example, </p><p class="ausltrans">FIND</p><p> or </p><p class="ausltrans">BEST</p><p>, or a change in orientation, for example, </p><p class="ausltrans">CAN-NOT</p><p> or </p><p class="ausltrans">HOW</p>
• AC9L1AU8EU01_E5<p>observing a sign's handshape and its orientation, for example, </p><p class="ausltrans">COCKATOO</p><p> handshape:five, palm left, and </p><p class="ausltrans">SOCCER</p><p> handshape:fist</p>
• AC9L1AU8EU01_E6identifying signs that can represent a whole object or part of an object, for example, body versus legs
• AC9L1AU8EU01_E7<p>noticing iconic signs that provide visual images of referents such as </p><p class="ausltrans">DRINK, ELEPHANT</p>
• AC9L1AU8EU01_E8<p>noticing the 5 major locations of signs on the body (body anchored signs) or in space (non-body anchored), and identifying signs associated with each, such as </p><p class="ausltrans">SEE</p><p> (head/face), </p><p class="ausltrans">SAY </p><p>(mouth/chin), </p><p class="ausltrans">WHY</p></p> (chest), </p><p class="ausltrans">PAST</p><p> (non-body anchored, head signing space), </p><p class="ausltrans">HAVE, STOP</p><p> and </p><p class="ausltrans">ONE</p><p> (non-body anchored, chest signing space)</p>
• AC9L1AU8EU01_E9<p>noticing the path movement of a particular sign and identifying signs associated with the major types of primary and secondary path movements, for example, </p><p class="ausltrans">THROUGH </p><p>(forwards) or </p><p class="ausltrans">FULL</p><p> (down to up) – both primary movements; or </p><p class="ausltrans">WHEN</p><p> (wiggle on cheek) or </p><p class="ausltrans">DINNER</p><p> (tap on chin) – both secondary movements</p>
• AC9L1AU8EU01_E10<p>noticing that in a stretch of connected signing, a sign will often be produced differently from the way it is shown in a dictionary in terms of citation and non-citation form, for example, </p><p class="ausltrans">KNOW</p><p> signed at the temple location, but in conversation this sign is often dropped into a lower signing space such as cheek, or even lower</p>
• AC9L1AU8EU01_E11<p>identifying which hand is dominant and which is non-dominant in 2-handed signs, and how such signs may move, for example, double-handed signs with same handshape move in the same way such as </p><p class="ausltrans">BOOK</p><p> or </p><p class="ausltrans">DIFFERENT</p><p>, while 2-handed signs have one stationary hand and only the dominant hand moves such as </p><p class="ausltrans">CULTURE</p><p> or </p><p class="ausltrans">IMPORTANT</p>
• AC9L1AU8EU01_E12<p>noticing signs can have different levels of visual motivation, or iconicity, for example, those that are fully transparent (</p><p class="ausltrans">SLEEP</p><p>), translucent (</p><p class="ausltrans">MILK</p><p>) or arbitrary (</p><p class="ausltrans">PEOPLE</p><p>) and that iconicity is often overestimated in sign languages</p>
• AC9L1AU8EU01_E13noticing that a fixed 2-dimensional image of a sign may be produced differently in real-life Auslan
• AC9L1AU8EU01_E14swapping hand dominance and anchoring either the dominant or subordinate hand for a purpose
• AC9L1AU8EU01_E15demonstrating signing at a constant speed, with pauses to indicate the end of a phrase