{"title":"Disability Sessions, The World Transformed Conference, Brighton","authors":"A. Hindle","doi":"10.3828/JLCDS.2021.7","DOIUrl":"https://doi.org/10.3828/JLCDS.2021.7","url":null,"abstract":"","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"15 1","pages":"109 - 113"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43867973","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 engages with arrangements of time and space and how they conjoin to constitute a disability chronotope that combines with other textual elements to both expand and limit empathetic horizons in Still Human, a film about a physically impaired middle-aged man and his Pilipino foreign domestic helper (FDH), set largely within a Hong Kong public housing estate. The study distinguishes between the text's declarative and descriptive layers, albeit while recognizing the forced and perhaps violent nature of this division. Structuring the surface of the film are technical codes and a chronological, optimistic, and sometimes humorous overcoming narrative through which protagonists triumph over tragedy. However, the surface of the text is intermittently disturbed by descriptive layers, or figurative currents. Although this troubling content appears peripheral to, and on the margins of, the text, this underlying and seemingly extraneous content is a crucial supplement which may more effectively realize authorial intentions to disclose the protagonists' humanness and engender empathy than the more prominent technical codes that structure the text's surface. Such coexisting layers illustrate how texts are stratified and how the content of texts and the intentions of authors are haunted by undecidability.
{"title":"Temporalities, a Disability Chronotope, and Empathetic Horizons in Still Human","authors":"Alex Cockain","doi":"10.3828/JLCDS.2021.2","DOIUrl":"https://doi.org/10.3828/JLCDS.2021.2","url":null,"abstract":"Abstract:The article engages with arrangements of time and space and how they conjoin to constitute a disability chronotope that combines with other textual elements to both expand and limit empathetic horizons in Still Human, a film about a physically impaired middle-aged man and his Pilipino foreign domestic helper (FDH), set largely within a Hong Kong public housing estate. The study distinguishes between the text's declarative and descriptive layers, albeit while recognizing the forced and perhaps violent nature of this division. Structuring the surface of the film are technical codes and a chronological, optimistic, and sometimes humorous overcoming narrative through which protagonists triumph over tragedy. However, the surface of the text is intermittently disturbed by descriptive layers, or figurative currents. Although this troubling content appears peripheral to, and on the margins of, the text, this underlying and seemingly extraneous content is a crucial supplement which may more effectively realize authorial intentions to disclose the protagonists' humanness and engender empathy than the more prominent technical codes that structure the text's surface. Such coexisting layers illustrate how texts are stratified and how the content of texts and the intentions of authors are haunted by undecidability.","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"15 1","pages":"19 - 37"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48116821","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}
Pub Date : 2020-10-01DOI: 10.3828/jlcds.2020.14.issue-4
{"title":"Journal of Literary & Cultural Disability Studies: Volume 14, Issue 4","authors":"","doi":"10.3828/jlcds.2020.14.issue-4","DOIUrl":"https://doi.org/10.3828/jlcds.2020.14.issue-4","url":null,"abstract":"","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46871403","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":"Comment from the Field: Disability Studies in Science Fiction and Fantasy","authors":"Amy S. Li","doi":"10.3828/jlcds.2020.33","DOIUrl":"https://doi.org/10.3828/jlcds.2020.33","url":null,"abstract":"","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"6 1","pages":"493-496"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86845005","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:Drawing on critical disability interrogations of the "human," this article explores how frameworks of normalization shape conceptions of human qualification and disqualification in two science fiction films. It examines how representations of the contaminated, injured, unstable, and mutated body produce discourses of, and social anxieties about, abnormalization and monstrosity. The films The Thing (1982) and Deadpool (2016), both characterized by science fiction cult popularity, are linked through multiple concerns for human futurity, including the dangers of monstrous disability and the need to redeem damaged and infected bodies. Bringing disability together with gender and race, the article argues that white able-bodied masculinization in the films, including aspects of militarism and colonialism, focuses on human qualification and on securing a future made non-hazardous by a masculinity recuperated from vulnerability and disability.
{"title":"Hazardous Futures and Damned Embodiments: Disability and White Masculinization in Science Fiction Film","authors":"Janice Hladki","doi":"10.3828/jlcds.2020.30","DOIUrl":"https://doi.org/10.3828/jlcds.2020.30","url":null,"abstract":"Abstract:Drawing on critical disability interrogations of the \"human,\" this article explores how frameworks of normalization shape conceptions of human qualification and disqualification in two science fiction films. It examines how representations of the contaminated, injured, unstable, and mutated body produce discourses of, and social anxieties about, abnormalization and monstrosity. The films The Thing (1982) and Deadpool (2016), both characterized by science fiction cult popularity, are linked through multiple concerns for human futurity, including the dangers of monstrous disability and the need to redeem damaged and infected bodies. Bringing disability together with gender and race, the article argues that white able-bodied masculinization in the films, including aspects of militarism and colonialism, focuses on human qualification and on securing a future made non-hazardous by a masculinity recuperated from vulnerability and disability.","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"14 1","pages":"453 - 467"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46408226","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":"Science Fiction, Disability, Disability Studies: A Conversation","authors":"K. Allan, Ria Cheyne","doi":"10.3828/jlcds.2020.26","DOIUrl":"https://doi.org/10.3828/jlcds.2020.26","url":null,"abstract":"","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"14 1","pages":"387 - 401"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45423740","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:Rosemarie Garland-Thomson has recently argued that Ishiguro's novel Never Let Me Go deconstructs ableism's binary structure by postulating the existence of clone characters who occupy an abject position in a eugenic dystopia precisely because their genetically engineered, idealized able bodies exist to be used to "cure" the disabilities of others. The article builds on Garland-Thomson's work, discussing the role of science fiction in Ishiguro's book as a means to explore how ableist narratives contribute to cultural norms that enable an overt disciplining of disabled bodies that still occurs, despite it no longer being socially acceptable, and posits protagonist Kathy H.'s story as a narrative of disability identity that exposes the contradictory nature of a belief in the able body and its opposition to disability. Putatively able-bodied, Kathy narrates her experience of the world from a subject position that undermines a stable construction of the body within an ableist framework, ultimately showing these distinctions to be untenable. By discussing the role of first-person perspective in Ishiguro's novel as a means to interrogate internalized cultural narratives that perpetuate ableist practices, the article examines how cultural notions of ability and disability function as terms that define through exclusion the citizen-subject in liberal democratic societies.
摘要：Rosemarie Garland Thomson最近认为，石黑一雄的小说《Never Let Me Go》通过假设克隆人角色的存在，解构了能力主义的二元结构，这些克隆人角色在优生学反乌托邦中占据了悲惨的地位，正是因为他们的基因工程、理想化的能力身体是用来“治愈”他人残疾的。这篇文章以加兰·汤姆森的作品为基础，讨论了科幻小说在石黑一雄的书中的作用，以此来探索有能力的叙事如何有助于文化规范，使残疾身体能够受到公开的约束，尽管这种情况不再为社会所接受，并将主人公凯西·H的故事定位为一种残疾身份的叙事，揭示了对有能力的身体的信仰及其对残疾的反对的矛盾本质。凯西从一个主题的角度讲述了她对世界的体验，这个主题破坏了在一个健全的框架内身体的稳定构建，最终表明这些区别是站不住脚的。通过讨论第一人称视角在石黑一雄小说中的作用，作为一种审问使能人实践永久化的内化文化叙事的手段，文章考察了在自由民主社会中，能力和残疾的文化概念是如何作为通过排斥来定义公民主体的术语发挥作用的。
{"title":"Eugenic Nostalgia: Self-Narration and Internalized Ableism in Kazuo Ishiguro's Never Let Me Go","authors":"Will Kanyusik","doi":"10.3828/jlcds.2020.29","DOIUrl":"https://doi.org/10.3828/jlcds.2020.29","url":null,"abstract":"Abstract:Rosemarie Garland-Thomson has recently argued that Ishiguro's novel Never Let Me Go deconstructs ableism's binary structure by postulating the existence of clone characters who occupy an abject position in a eugenic dystopia precisely because their genetically engineered, idealized able bodies exist to be used to \"cure\" the disabilities of others. The article builds on Garland-Thomson's work, discussing the role of science fiction in Ishiguro's book as a means to explore how ableist narratives contribute to cultural norms that enable an overt disciplining of disabled bodies that still occurs, despite it no longer being socially acceptable, and posits protagonist Kathy H.'s story as a narrative of disability identity that exposes the contradictory nature of a belief in the able body and its opposition to disability. Putatively able-bodied, Kathy narrates her experience of the world from a subject position that undermines a stable construction of the body within an ableist framework, ultimately showing these distinctions to be untenable. By discussing the role of first-person perspective in Ishiguro's novel as a means to interrogate internalized cultural narratives that perpetuate ableist practices, the article examines how cultural notions of ability and disability function as terms that define through exclusion the citizen-subject in liberal democratic societies.","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"14 1","pages":"437 - 452"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44439158","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:Contemporary Deaf literature and film of the science fiction (SF) genre such as Ted Evans's The End and Donna Williams's "When the Dead are Cured" imagine worlds where Sign Language Peoples (SLPs) are threatened with eradication. Employing schema criticism, the article shows how these social SF stories have the potential to transform harmful cognitive schemas that perpetuate eugenic drives, explaining how certain cognitive schemas uphold beliefs inherent to the ideology of ability (Bracher 2013; Siebers 2008). These SF texts question the ethics of genetic engineering and the desire to "cure" deafness; the intersection of disability and SF results in a subgenre of protest literature. Each protest story depicts eugenic ideologies that instantiate real-world SLPs' activist claims to human and group rights. Further, these depictions of eugenic drives enable the activation of cognitive schemas that work against social injustices. SF as a mode of thought thus supports real-life protest against the state.
{"title":"Science Fiction's Imagined Futures and Powerful Protests: The Ethics of \"Curing\" Deafness in Ted Evans's The End and Donna Williams's \"When the Dead Are Cured\"","authors":"Rachel Mazique","doi":"10.3828/jlcds.2020.31","DOIUrl":"https://doi.org/10.3828/jlcds.2020.31","url":null,"abstract":"Abstract:Contemporary Deaf literature and film of the science fiction (SF) genre such as Ted Evans's The End and Donna Williams's \"When the Dead are Cured\" imagine worlds where Sign Language Peoples (SLPs) are threatened with eradication. Employing schema criticism, the article shows how these social SF stories have the potential to transform harmful cognitive schemas that perpetuate eugenic drives, explaining how certain cognitive schemas uphold beliefs inherent to the ideology of ability (Bracher 2013; Siebers 2008). These SF texts question the ethics of genetic engineering and the desire to \"cure\" deafness; the intersection of disability and SF results in a subgenre of protest literature. Each protest story depicts eugenic ideologies that instantiate real-world SLPs' activist claims to human and group rights. Further, these depictions of eugenic drives enable the activation of cognitive schemas that work against social injustices. SF as a mode of thought thus supports real-life protest against the state.","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"14 1","pages":"469 - 485"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41429388","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 examines the overlaps between disability studies and digital game studies through an analysis of the science fiction digital game Deus Ex: Mankind Divided. Using an adaptation of Mitchell and Snyder's work on disability and narrative prosthesis in literature, the power implied by erasure-by-metaphor is considered, as are issues of migration, appropriation, and the grotesque. By examining ability, disability, and tangibility in relation to the game's rules, game-play, and narrative elements, this analysis demonstrates the relevance of disability theory to science fiction games.
{"title":"Bodies That Count: Augmentation, Community, and Disability in a Science Fiction Game","authors":"D. Carr","doi":"10.3828/jlcds.2020.28","DOIUrl":"https://doi.org/10.3828/jlcds.2020.28","url":null,"abstract":"Abstract:The article examines the overlaps between disability studies and digital game studies through an analysis of the science fiction digital game Deus Ex: Mankind Divided. Using an adaptation of Mitchell and Snyder's work on disability and narrative prosthesis in literature, the power implied by erasure-by-metaphor is considered, as are issues of migration, appropriation, and the grotesque. By examining ability, disability, and tangibility in relation to the game's rules, game-play, and narrative elements, this analysis demonstrates the relevance of disability theory to science fiction games.","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"14 1","pages":"421 - 436"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46889528","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}
Non-disabled actors playing disabled characters in popular mainstream film is a contentious issue in critical disability scholarship. So what is disability studies to make of fetal amputee and cosplayer,1 Laura Vaughn, and her identification with and emulation of disabled warrior woman, Imperator Furiosa—a fictional female character from the near future dystopian action film, Mad Max: Fury Road (2015), who is played by non-disabled actor, Charlize Theron? Mad Max: Fury Road follows the plight of a lone ex-cop called “Mad” Max Rockatansky (Tom Hardy), who becomes entangled with formidable amputee and female warrior, Imperator Furiosa, as she flees the warlord Immorten Joe and his tribe of “War Boys,” taking with her his harem of women called the “Five Wives.” In an exhilarating finale Furiosa, with the help of Max and the Five Wives, is forced to face down Immorten Joe and his men, finally emerging triumphant as the peoples’ hero. The tough and uncompromising figure of Imperator Furiosa has attracted positive critical attention from both feminists and disabled women, transforming Fury Road from a conventional macho action movie to a feminist narrative of women’s liberation from an oppressive and exploitative patriarchy. The most pressing and intriguing discussion about Furiosa is that made by fetal amputee and cosplayer Laura Vaughn—a dedicated cosplayer and blogger, who has wholeheartedly identified with Theron’s Furiosa. Cosplay involves fans dressing up in costume in order to emulate their favorite characters from popular cultural texts in film, TV, and literature. Its origins lie in American science fiction and fantasy, and it has produced its own celebrities in fandom culture. Cosplayers connect through social media and fanzines and regularly attend conventions in order to publicly
在流行的主流电影中扮演残疾角色的非残疾演员是批判性残疾研究中一个有争议的问题。那么，对胎儿截肢者和角色扮演者1 Laura Vaughn的残疾研究，以及她对残疾女战士Imperator Furiosa的认同和模仿，是一个虚构的女性角色，来自不久的将来的反乌托邦动作片《疯狂的麦克斯：狂暴之路》（2015），由非残疾演员Charlize Theron扮演？《疯狂的麦克斯：狂暴之路》讲述了一位名叫“疯狂”的麦克斯·罗卡坦斯基（汤姆·哈迪饰）的单身前警察的困境，她在逃离军阀不朽的乔和他的“战争男孩”部落时，与令人生畏的截肢者兼女战士帝国手弗瑞奥萨纠缠在一起，带走了他的后宫“五个妻子”，被迫面对不朽的乔和他的手下，最终胜利地成为人民的英雄。帝国主义者Furiosa的强硬和不妥协的形象吸引了女权主义者和残疾女性的积极批评关注，将《愤怒之路》从一部传统的大男子主义动作电影转变为一部女性主义叙事，讲述女性从压迫和剥削的父权制中解放出来的故事。关于Furiosa最紧迫、最有趣的讨论是由胎儿截肢者兼角色扮演者Laura Vaughn进行的，她是一位专注的角色扮演者和博主，全心全意地认同Theron的Furiosa。角色扮演包括粉丝们穿着戏服，模仿电影、电视和文学中流行文化文本中他们最喜欢的角色。它起源于美国的科幻小说和幻想小说，并在粉丝文化中产生了自己的名人。角色扮演者通过社交媒体和粉丝杂志建立联系，并定期参加大会以公开
{"title":"What Is Disability Studies to Make of Fetal Amputee and Cosplayer Laura Vaughn and Her Emulation of Female Warrior, Imperator Furiosa of Mad Max: Fury Road?","authors":"S. Smith","doi":"10.3828/jlcds.2020.32","DOIUrl":"https://doi.org/10.3828/jlcds.2020.32","url":null,"abstract":"Non-disabled actors playing disabled characters in popular mainstream film is a contentious issue in critical disability scholarship. So what is disability studies to make of fetal amputee and cosplayer,1 Laura Vaughn, and her identification with and emulation of disabled warrior woman, Imperator Furiosa—a fictional female character from the near future dystopian action film, Mad Max: Fury Road (2015), who is played by non-disabled actor, Charlize Theron? Mad Max: Fury Road follows the plight of a lone ex-cop called “Mad” Max Rockatansky (Tom Hardy), who becomes entangled with formidable amputee and female warrior, Imperator Furiosa, as she flees the warlord Immorten Joe and his tribe of “War Boys,” taking with her his harem of women called the “Five Wives.” In an exhilarating finale Furiosa, with the help of Max and the Five Wives, is forced to face down Immorten Joe and his men, finally emerging triumphant as the peoples’ hero. The tough and uncompromising figure of Imperator Furiosa has attracted positive critical attention from both feminists and disabled women, transforming Fury Road from a conventional macho action movie to a feminist narrative of women’s liberation from an oppressive and exploitative patriarchy. The most pressing and intriguing discussion about Furiosa is that made by fetal amputee and cosplayer Laura Vaughn—a dedicated cosplayer and blogger, who has wholeheartedly identified with Theron’s Furiosa. Cosplay involves fans dressing up in costume in order to emulate their favorite characters from popular cultural texts in film, TV, and literature. Its origins lie in American science fiction and fantasy, and it has produced its own celebrities in fandom culture. Cosplayers connect through social media and fanzines and regularly attend conventions in order to publicly","PeriodicalId":37229,"journal":{"name":"Journal of Literary and Cultural Disability Studies","volume":"14 1","pages":"487 - 491"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48226628","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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