Arts and Humanities by Brenda Jo Brueggemann

By Brenda Jo Brueggemann

This quantity in The SAGE Reference sequence on incapacity explores the humanities and arts in the lives of individuals with disabilities. it truly is one in every of 8 volumes within the cross-disciplinary and issues-based sequence, which contains hyperlinks from assorted fields making up incapacity experiences as volumes learn themes relevant to the lives of people with disabilities and their households. With a stability of heritage, concept, examine, and alertness, experts set out the findings and implications of study and perform for others whose present or destiny paintings contains the care and/or research of these with disabilities, in addition to for the disabled themselves. The presentational sort (concise and fascinating) emphasizes accessibility. Taken separately, each one quantity units out the basics of the subject it addresses, followed through compiled info and information, urged additional readings, a advisor to firms and institutions, and different annotated assets, hence delivering the fitting introductory platform and gateway for additional learn. Taken jointly, the sequence represents either a survey of significant incapacity concerns and a advisor to new instructions and developments and modern assets within the box as a complete.

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From at least Tiresias, the blind prophet of Greek mythology, forward, blindness can be cited often metaphorically or in character within literature; José Saramago’s novel Blindness (also made into a 2008 film) and the famous H. G. Wells story “In the Country of the Blind” are two significant examples. Blindness in film also finds categorical figuration in such classic films as A Patch of Blue (Green, 1965), Magnificent Obsession (Sirk, 1954), and Scent of a Woman (Brest, 1992; for which Al Pacino won an Academy Award as Best Actor in 1992).

12). While it can be useful to question what is normal, it is not always practical to question the reasons why one thing is understood as normal and another is not. In order for standardized tests, medical diagnoses, and school applications to be useful, an agreed-upon normal range of performance is necessary. On the other hand, disability studies provides a check on how such standardized tests, for example, define their range of normal scores. Disability studies asks questions such as: Who decides what counts as normal and what does not?

But that] disability is something that 24 ARTS AND HUMANITIES we do, rather than something we are” (pp. 1–2). This collection adds to the critical work on disability and performance by beginning from the perspective that varieties of embodiment and cognition exist (and are acted out on stage and in everyday life). From this starting point, then, the collection includes essays, like Carrie Sandahl’s, that ask how disability should be performed and who should perform it. Because disabled actors have been historically excluded from playing disabled characters, questions of which types of bodies are put on stage to perform disability become central to a discussion of performance.

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