Kristin Snoddon is a Professor in the School of Early Childhood Studies, Toronto Metropolitan University, Canada. She is co-editor of Critical Perspectives on Plurilingualism in Deaf Education (with Joanne C. Weber, Multilingual Matters, 2021) and Sign Language Ideologies in Practice (with Annelies Kusters, Mara Green and Erin Moriarty, Mouton De Gruyter, 2020).

• AcknowledgmentsForewordSeries Editors’ PrefaceIntroduction: Understanding, Difference and Relationality in MethodologyPart 1: Linguistic FlourishingChapter 1. Being a Deaf Scholar: Writing as BeingChapter 2. Signing Songs and the Openings of Semiotic RepertoiresPart 2: Deaf Interpreters and UnderstandingChapter 3. Sign Language Ideologies and the Ethics of RelationalityChapter 4. Brokering Understanding: Deaf Interpreters’ Role and PracticePart 3: Caribbean Deaf Epistemologies of Language and UnderstandingChapter 5. A Phenomenology of Deaf People’s Experiences of Understanding and Music at Trinidad CarnivalChapter 6. Toward a Caribbean Deaf Queer PhenomenologyConclusionReferencesIndex

What does it mean to be understood as a deaf person? Kristin Snoddon asks from the borderlands of lived experience: deaf, deafblind and hard of hearing people as writers, song signers, interpreters, dancers, musicians. By illuminating deaf worlds of (not) understanding and (not) being understood, layers of alienation and shame are reshaped into sites of linguistic flourishing.

Kristin Snoddon is a Professor in the School of Early Childhood Studies, Toronto Metropolitan University, Canada. She is co-editor of Critical Perspectives on Plurilingualism in Deaf Education (with Joanne C. Weber, Multilingual Matters, 2021) and Sign Language Ideologies in Practice (with Annelies Kusters, Mara Green and Erin Moriarty, Mouton De Gruyter, 2020).

• AcknowledgmentsForewordSeries Editors’ PrefaceIntroduction: Understanding, Difference and Relationality in MethodologyPart 1: Linguistic FlourishingChapter 1. Being a Deaf Scholar: Writing as BeingChapter 2. Signing Songs and the Openings of Semiotic RepertoiresPart 2: Deaf Interpreters and UnderstandingChapter 3. Sign Language Ideologies and the Ethics of RelationalityChapter 4. Brokering Understanding: Deaf Interpreters’ Role and PracticePart 3: Caribbean Deaf Epistemologies of Language and UnderstandingChapter 5. A Phenomenology of Deaf People’s Experiences of Understanding and Music at Trinidad CarnivalChapter 6. Toward a Caribbean Deaf Queer PhenomenologyConclusionReferencesIndex

What does it mean to be understood as a deaf person? Kristin Snoddon asks from the borderlands of lived experience: deaf, deafblind and hard of hearing people as writers, song signers, interpreters, dancers, musicians. By illuminating deaf worlds of (not) understanding and (not) being understood, layers of alienation and shame are reshaped into sites of linguistic flourishing.

Kristin Snoddon is a Professor in the School of Early Childhood Studies, Toronto Metropolitan University, Canada. She is co-editor of Critical Perspectives on Plurilingualism in Deaf Education (with Joanne C. Weber, Multilingual Matters, 2021) and Sign Language Ideologies in Practice (with Annelies Kusters, Mara Green and Erin Moriarty, Mouton De Gruyter, 2020).

• AcknowledgmentsForewordSeries Editors’ PrefaceIntroduction: Understanding, Difference and Relationality in MethodologyPart 1: Linguistic FlourishingChapter 1. Being a Deaf Scholar: Writing as BeingChapter 2. Signing Songs and the Openings of Semiotic RepertoiresPart 2: Deaf Interpreters and UnderstandingChapter 3. Sign Language Ideologies and the Ethics of RelationalityChapter 4. Brokering Understanding: Deaf Interpreters’ Role and PracticePart 3: Caribbean Deaf Epistemologies of Language and UnderstandingChapter 5. A Phenomenology of Deaf People’s Experiences of Understanding and Music at Trinidad CarnivalChapter 6. Toward a Caribbean Deaf Queer PhenomenologyConclusionReferencesIndex

What does it mean to be understood as a deaf person? Kristin Snoddon asks from the borderlands of lived experience: deaf, deafblind and hard of hearing people as writers, song signers, interpreters, dancers, musicians. By illuminating deaf worlds of (not) understanding and (not) being understood, layers of alienation and shame are reshaped into sites of linguistic flourishing.