Abstract:Graphic medicine, despite claiming to have moved into a "post-evangelical" phase of critical examination, has not yet looked critically at the claims made for the empathic power of the field and genre. By tracing empathy's contested history across different fields, the article shows how empathy runs the risk of being based in projection and self-interest, foreclosing the opportunity for pro-social action. Focusing on its utilization in medical training and education within graphic medicine, the article's argument is that this can decontextualize and individualize the clinical encounter, reinforcing the medical model of disability. Also considered is how the potential appeal of graphic medicine to non-disabled audiences can lead to a damaging misconception of the nature of lived experience and can reinforce unequal power relations between empathizer and object of empathy, failing to address systematic oppression. The article ends by stressing several alternative critical approaches to empathy within graphic medicine that might aid a more productive approach to disability within the field.
{"title":"Cripping Empathy in Graphic Medicine","authors":"Andrew Godfrey-Meers","doi":"10.3828/jlcds.2023.24","DOIUrl":"https://doi.org/10.3828/jlcds.2023.24","url":null,"abstract":"Abstract:Graphic medicine, despite claiming to have moved into a \"post-evangelical\" phase of critical examination, has not yet looked critically at the claims made for the empathic power of the field and genre. By tracing empathy's contested history across different fields, the article shows how empathy runs the risk of being based in projection and self-interest, foreclosing the opportunity for pro-social action. Focusing on its utilization in medical training and education within graphic medicine, the article's argument is that this can decontextualize and individualize the clinical encounter, reinforcing the medical model of disability. Also considered is how the potential appeal of graphic medicine to non-disabled audiences can lead to a damaging misconception of the nature of lived experience and can reinforce unequal power relations between empathizer and object of empathy, failing to address systematic oppression. The article ends by stressing several alternative critical approaches to empathy within graphic medicine that might aid a more productive approach to disability within the field.","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"17 1","pages":"309 - 325"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44010449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The origins of this special issue can be traced back to late October of 2017 when we attended the conference “Stories of Illness / Disability in Literature and Comics: Intersections of the Medical, the Personal, and the Cultural” organized by the PathoGraphics project at Freie Universität Berlin.1 We had first met completely incidentally a few weeks earlier at a symposium in Aarhus, Denmark. Although, or rather because the symposium in Aarhus was not related to disability or comics, we were surprised and delighted to discover that we indeed had similar research interests: we were both German PhD candidates in American studies with a strong focus on disability studies. Additionally, we both hardly knew anyone else in our field in Germany who was doing the kind of research we were interested in—so we were even more excited to discover that we would be attending the same international conference in Berlin just a few weeks later. Indeed, as happens, one of the contributors to this issue, Andrew Godfrey-Meers, also attended and presented a paper at the PathoGraphics conference.2 While the serendipity of all this seems undeniable, our story firstly speaks to scholars’ growing interest in comics and disability—a development that has quickly expanded beyond the UK and US.3 Secondly, we see a need to emphasize how our own privileges of being able to attend these events—both physically and economically speaking—have created the very possibility of this issue. We recognize that being white, middle-class, and located
{"title":"Introduction: Who Sees and Who's Seen in Graphic Medicine?","authors":"Dorothee Marx, G. Wegner","doi":"10.3828/jlcds.2023.22","DOIUrl":"https://doi.org/10.3828/jlcds.2023.22","url":null,"abstract":"The origins of this special issue can be traced back to late October of 2017 when we attended the conference “Stories of Illness / Disability in Literature and Comics: Intersections of the Medical, the Personal, and the Cultural” organized by the PathoGraphics project at Freie Universität Berlin.1 We had first met completely incidentally a few weeks earlier at a symposium in Aarhus, Denmark. Although, or rather because the symposium in Aarhus was not related to disability or comics, we were surprised and delighted to discover that we indeed had similar research interests: we were both German PhD candidates in American studies with a strong focus on disability studies. Additionally, we both hardly knew anyone else in our field in Germany who was doing the kind of research we were interested in—so we were even more excited to discover that we would be attending the same international conference in Berlin just a few weeks later. Indeed, as happens, one of the contributors to this issue, Andrew Godfrey-Meers, also attended and presented a paper at the PathoGraphics conference.2 While the serendipity of all this seems undeniable, our story firstly speaks to scholars’ growing interest in comics and disability—a development that has quickly expanded beyond the UK and US.3 Secondly, we see a need to emphasize how our own privileges of being able to attend these events—both physically and economically speaking—have created the very possibility of this issue. We recognize that being white, middle-class, and located","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"17 1","pages":"273 - 287"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44426661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“‘Cripping’ Graphic Medicine: Drawing Out the Public Sphere” was a four-part, public symposium that took place in Syracuse, New York, during the 2019–2020 academic year. The series was jointly organized by the co-authors and Prof. Rebecca Garden (SUNY Upstate Medical University), as part of the Syracuse University Humanities Center’s “Syracuse Symposium.” The Burton Blatt Institute’s Office of Interdisciplinary Programs and Outreach (OIPO), in collaboration with the Consortium for Culture and Medicine and the Syracuse University College of Arts and Sciences, received the funding from the Humanities Center to present the 2019–2020 series.1 Each academic year, the Syracuse Symposium offers a sequence of programs and activities that revolve around an annual theme. The 2019–2020 theme, “Silence,” provided an opportunity to discuss the ways in which graphic medicine at times silences disability and certain illnesses through representational erasure and inaccessible modes of content delivery. The four events addressed issues of power in the silencing of disability and the “voices” of those who experience barriers in healthcare and healthcare education and practice, while also addressing how disabled people’s “voices” are sometimes silenced by graphic medicine and the comics industry. Here, we use the word “voices” with quotation marks to emphasize that voicedness does not occur in one form. We are therefore “cripping” the word “voices.” In order to collaborate effectively with constituents from both Syracuse University and SUNY Upstate Medical University, graphic medicine was chosen as a focus, because this subject draws linkages across disability studies and the health humanities. “‘Cripping’ Graphic Medicine: Drawing Out the Public Sphere” illustrated the ways in which accessibility frameworks, such
{"title":"\"Cripping\" Graphic Medicine: Drawing Out the Public Sphere","authors":"Rachael A. Zubal-Ruggieri, Diane R. Wiener","doi":"10.3828/jlcds.2023.28","DOIUrl":"https://doi.org/10.3828/jlcds.2023.28","url":null,"abstract":"“‘Cripping’ Graphic Medicine: Drawing Out the Public Sphere” was a four-part, public symposium that took place in Syracuse, New York, during the 2019–2020 academic year. The series was jointly organized by the co-authors and Prof. Rebecca Garden (SUNY Upstate Medical University), as part of the Syracuse University Humanities Center’s “Syracuse Symposium.” The Burton Blatt Institute’s Office of Interdisciplinary Programs and Outreach (OIPO), in collaboration with the Consortium for Culture and Medicine and the Syracuse University College of Arts and Sciences, received the funding from the Humanities Center to present the 2019–2020 series.1 Each academic year, the Syracuse Symposium offers a sequence of programs and activities that revolve around an annual theme. The 2019–2020 theme, “Silence,” provided an opportunity to discuss the ways in which graphic medicine at times silences disability and certain illnesses through representational erasure and inaccessible modes of content delivery. The four events addressed issues of power in the silencing of disability and the “voices” of those who experience barriers in healthcare and healthcare education and practice, while also addressing how disabled people’s “voices” are sometimes silenced by graphic medicine and the comics industry. Here, we use the word “voices” with quotation marks to emphasize that voicedness does not occur in one form. We are therefore “cripping” the word “voices.” In order to collaborate effectively with constituents from both Syracuse University and SUNY Upstate Medical University, graphic medicine was chosen as a focus, because this subject draws linkages across disability studies and the health humanities. “‘Cripping’ Graphic Medicine: Drawing Out the Public Sphere” illustrated the ways in which accessibility frameworks, such","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"17 1","pages":"389 - 393"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43318267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"About the Contributors","authors":"","doi":"10.3828/jlcds.2023.30","DOIUrl":"https://doi.org/10.3828/jlcds.2023.30","url":null,"abstract":"","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135697072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Maria Bee Christensen-Strynø, Lisbeth Frølunde, Louise H. Phillips
Abstract:The article combines the concept of empathography with aspects of crip methodology and theoretical reflections on the gaze in critical disability studies and, in doing so, creates a strategy for analyzing processes of co-producing a graphic novel about Parkinson's dance. The production of the graphic novel Moving Along: a Co-Produced Graphic Novel About Parkinson's Dance was part of a collaborative research project about dance for people with Parkinson's disease and their relatives. The analysis is based on examples of the participatory, iterative processes of writing and drawing along with texts and images from the final graphic novel through two thematic figurations as analytic fix points, the kaleidoscope and the tree of life. By highlighting embedded spectator positions and multiple ways of looking, gazing, and staring, the analysis stirs up concerns about storytelling, empathy, and disability as a continuum of embodied difference in ways that question traditional binaries of disability/ability and illness/health(iness) related to living with Parkinson's. On this basis, the argument is that the poetic and aesthetic processing of personal experiences of chronic illness and disability in relation to Parkinson's dance holds a valuable critical potential as a form of crip empathography.
{"title":"Crip Empathography: Co-creating a Graphic Novel about Parkinson's Dance Experiences","authors":"Maria Bee Christensen-Strynø, Lisbeth Frølunde, Louise H. Phillips","doi":"10.3828/jlcds.2023.25","DOIUrl":"https://doi.org/10.3828/jlcds.2023.25","url":null,"abstract":"Abstract:The article combines the concept of empathography with aspects of crip methodology and theoretical reflections on the gaze in critical disability studies and, in doing so, creates a strategy for analyzing processes of co-producing a graphic novel about Parkinson's dance. The production of the graphic novel Moving Along: a Co-Produced Graphic Novel About Parkinson's Dance was part of a collaborative research project about dance for people with Parkinson's disease and their relatives. The analysis is based on examples of the participatory, iterative processes of writing and drawing along with texts and images from the final graphic novel through two thematic figurations as analytic fix points, the kaleidoscope and the tree of life. By highlighting embedded spectator positions and multiple ways of looking, gazing, and staring, the analysis stirs up concerns about storytelling, empathy, and disability as a continuum of embodied difference in ways that question traditional binaries of disability/ability and illness/health(iness) related to living with Parkinson's. On this basis, the argument is that the poetic and aesthetic processing of personal experiences of chronic illness and disability in relation to Parkinson's dance holds a valuable critical potential as a form of crip empathography.","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"17 1","pages":"327 - 348"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70525135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The article extends understandings of embodiment in comics studies by exploring feminist, queer, and crip affinities and aesthetics in graphic medicine. It analyzes two works of graphic medicine, Georgia Webber's Dumb: Living Without a Voice (2018) and Vivian Chong and Webber's Dancing After TEN (2020), that explore the authors' experiences of voicelessness and blindness respectively. The article employs Robert McRuer's concept of "decomposition," a disorderly process of writing that resists normativity, to examine how these two works draw attention to the embodied stakes of composition even as they destabilize disability as a fact of the body. The article first contextualizes how Dumb and Dancing After TEN crip corporeality by proclaiming disability as an epistemological position and politicized identity that is shaped by and resists heteropatriarchal and ableist power structures. It then analyzes how they crip comics aesthetics to emphasize the creative, intellectual, and embodied labor of their graphic medicine. By highlighting their creators' composing bodies in the disorderly process of making comics, Dumb and Dancing After TEN invite multisensory modes of analyzing the lived realities of disability in graphic medicine beyond assimilation or celebration.
{"title":"Composing Crip Corporealities, or Decomposing Comics, in Dumb and Dancing After TEN","authors":"Maite Urcaregui","doi":"10.3828/jlcds.2023.27","DOIUrl":"https://doi.org/10.3828/jlcds.2023.27","url":null,"abstract":"Abstract:The article extends understandings of embodiment in comics studies by exploring feminist, queer, and crip affinities and aesthetics in graphic medicine. It analyzes two works of graphic medicine, Georgia Webber's Dumb: Living Without a Voice (2018) and Vivian Chong and Webber's Dancing After TEN (2020), that explore the authors' experiences of voicelessness and blindness respectively. The article employs Robert McRuer's concept of \"decomposition,\" a disorderly process of writing that resists normativity, to examine how these two works draw attention to the embodied stakes of composition even as they destabilize disability as a fact of the body. The article first contextualizes how Dumb and Dancing After TEN crip corporeality by proclaiming disability as an epistemological position and politicized identity that is shaped by and resists heteropatriarchal and ableist power structures. It then analyzes how they crip comics aesthetics to emphasize the creative, intellectual, and embodied labor of their graphic medicine. By highlighting their creators' composing bodies in the disorderly process of making comics, Dumb and Dancing After TEN invite multisensory modes of analyzing the lived realities of disability in graphic medicine beyond assimilation or celebration.","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"17 1","pages":"369 - 387"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46511978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article offers a theoretical framework and proposes practices for a “cripped” graphic medicine. It begins by contextualizing a “cripped” graphic medicine in the age of Covid-19, then shares definitions of “cripping” and some approaches to and examples of “cripping” graphic medicine. The article discusses the complex relationship(s) between graphic medicine and disability studies. Also discussed is Smith and Alaniz’s Uncanny Bodies: Superhero Comics and Disability and its role in illustrating how disability studies can be used to “crip” graphic medicine. Further examples for “cripping” graphic medicine are offered from the “‘Cripping’ the Comic Con” symposium. The final section discusses and explores the authors’ positionalities as Mad Queer Crips, whose cripistemologies influence and situate collaborative approaches toward “cripping” graphic medicine—including the writing of this article.
{"title":"“Cripping” Graphic Medicine","authors":"Rachael A. Zubal-Ruggieri, Diane R. Wiener","doi":"10.3828/jlcds.2023.23","DOIUrl":"https://doi.org/10.3828/jlcds.2023.23","url":null,"abstract":"The article offers a theoretical framework and proposes practices for a “cripped” graphic medicine. It begins by contextualizing a “cripped” graphic medicine in the age of Covid-19, then shares definitions of “cripping” and some approaches to and examples of “cripping” graphic medicine. The article discusses the complex relationship(s) between graphic medicine and disability studies. Also discussed is Smith and Alaniz’s Uncanny Bodies: Superhero Comics and Disability and its role in illustrating how disability studies can be used to “crip” graphic medicine. Further examples for “cripping” graphic medicine are offered from the “‘Cripping’ the Comic Con” symposium. The final section discusses and explores the authors’ positionalities as Mad Queer Crips, whose cripistemologies influence and situate collaborative approaches toward “cripping” graphic medicine—including the writing of this article.","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135697864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The article is a dialogue between comic artists, writers, readers, and researchers. Recognizing the characterization of traumatic memory as fragmented, embodied, and encompassing multiple temporalities, it considers the implications of trauma and comics as more-than-representational. It challenges a representational logic of signification that informs presuppositions regarding trauma's narrativization and readability that privilege coherency and stability. At the intersection of trauma and comics, the article suggests a shift from comics as narrative/discursive objects to comics as artworks, as sensation and affect. Comics as material-discursive processes engage bodies (the tactile, sensory, and material) and drawing from and through embodied memory and multiple temporalities. The article includes the authors' address of trauma, affect, memory, and time through writing about their own artistic practices and diffractive reading.
{"title":"Comic Artists' Navigation of Trauma, Affect, and Representation: Drawn Images as Entanglement of Body, Material, Memory","authors":"jt Richardson, Victoria Grube, Jeff Horwat","doi":"10.3828/jlcds.2023.26","DOIUrl":"https://doi.org/10.3828/jlcds.2023.26","url":null,"abstract":"Abstract:The article is a dialogue between comic artists, writers, readers, and researchers. Recognizing the characterization of traumatic memory as fragmented, embodied, and encompassing multiple temporalities, it considers the implications of trauma and comics as more-than-representational. It challenges a representational logic of signification that informs presuppositions regarding trauma's narrativization and readability that privilege coherency and stability. At the intersection of trauma and comics, the article suggests a shift from comics as narrative/discursive objects to comics as artworks, as sensation and affect. Comics as material-discursive processes engage bodies (the tactile, sensory, and material) and drawing from and through embodied memory and multiple temporalities. The article includes the authors' address of trauma, affect, memory, and time through writing about their own artistic practices and diffractive reading.","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"17 1","pages":"349 - 368"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48185007","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Before Crip Camp: Larry Eigner’s Autobiographical Fiction and Camp Jened","authors":"G. Hart","doi":"10.3828/jlcds.2023.18","DOIUrl":"https://doi.org/10.3828/jlcds.2023.18","url":null,"abstract":"","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"17 1","pages":"251 - 256"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44111719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"About the Contributors","authors":"","doi":"10.3828/jlcds.2023.21","DOIUrl":"https://doi.org/10.3828/jlcds.2023.21","url":null,"abstract":"","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"322 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135518248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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