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Dramatizing Blindness: Disability Studies as Critical Creative Narrative engages with the cultural meanings and movements of blindness. This book addresses how blindness is lived in particular contexts—in offices of ophthalmology and psychiatry, in classrooms of higher education, in accessibility service offices, on the street, and at home. Taking the form of a play written in five acts, the narrative dramatizes how the main character’s blindness is conceived of in the world and in the self. Each act includes an analysis where blind studies is explored in relation to disability studies. This work reveals the performative enactment of blindness that is lived in the public as well as in the private corners of the self, demonstrating how blindness is a form of perception. Devon Healey’s work orients to blindness as a necessary and creative feature of the sensorium and shows how blindness is a form of perception.
Dramatizing Blindness: Disability Studies as Critical Creative Narrative engages with the cultural meanings and movements of blindness. This book addresses how blindness is lived in particular contexts—in offices of ophthalmology and psychiatry, in classrooms of higher education, in accessibility service offices, on the street, and at home. Taking the form of a play written in five acts, the narrative dramatizes how the main character’s blindness is conceived of in the world and in the self. Each act includes an analysis where blind studies is explored in relation to disability studies. This work reveals the performative enactment of blindness that is lived in the public as well as in the private corners of the self, demonstrating how blindness is a form of perception. Devon Healey’s work orients to blindness as a necessary and creative feature of the sensorium and shows how blindness is a form of perception.
Examines how the intertwining paths of avant-garde theater and mainstream drama work to produce provocative new forms
Introduces the need for contextualized atonement theology and offers creative examples of how the Cross can be proclaimed in culturally relevant and transformative ways.
First published in 1961. Critiquing the critics, and examining the vocabulary of twentieth century criticism of the Shakespearean tragedies, John Holloway's book covers Hamlet, Othello, Macbeth, King Lear, Antony and Cleopatra, Coriolanus, Timon of Athens and the themes of Shakespearean Tragedy and the idea of human sacrifice and the concepts of myth and ritual in literature.
MAKING THE STAGE is a collection of essays that examines the role of theatre, drama, and performance in contemporary culture, a culture that is growing increasingly technological and isolated--seemingly at odds with the very nature of theatre, a collaborative and sometimes very primitive art form. Through the course of these essays, it is clear that theatre not only survives some of the challenges of the day but even defines discussions, particularly political ones which are prohibited by an increasingly manipulated media. The essays, from a diverse group of theatre scholars, examine the mechanics of theatre, from space to sound to the use of technology, the role of women in creating theatre, the relationship between theatre and literary art forms, the politics of theatre, science and theatre, and the role of performance art. Through them all, it is clear that theatre, drama, and performance continue to speak in significant ways.
Learning Disability and Everyday Life brings into conversation ideas from social theory with “thick” descriptions of the everyday life of a middle-aged man with learning disabilities and autism. This book is markedly ethnographic in its orientation to the gritty graininess of everyday life—eating, drinking, walking, cooking, talking, and so on—in, with, and alongside learning disability. However, preoccupation with, the “small” coexists with a gaze intent upon capturing a bigger picture, to the extent that the things constituting everyday life are deployed as prisms through and with which to critically reflect upon the wider worlds of dis/ability and everyday life. Such attention to the small and the big—the micro and the macro—allows this book to explore the ordinary and everyday ways meanings about normalcy and abnormalcy, ability and disability, are put together, enacted, practised, made (up)—in the sense of constituting and fabricating—and, crucially, accomplished through and between people in specific, and invariably contingent, sociocultural, discursive, and material conditions of possibility. This book will be of specific interest not only to students and scholars of disability but also to persons with lived experiences of disability. This book will also be of interest to students and scholars of anthropology and sociology.
Like race, gender, and sexuality, disability is a social and cultural construction. Music, musicians, and music-making simultaneously embody and shape representations and narratives of disability. Disability -- culturally stigmatized minds and bodies -- is one of the things that music in all times and places can be said to be about.
Matthew Farlow traces the thoughts of Balthasar and Barth so as to enter into theological truth of God’s Being-in-Act. This exploration embarks on a journey into the reality of our Triune God who has engaged his creation so as to elicit fellow actors. God seeking out humanity is God with us, a truth that not only informs our theological endeavors, but invites us into the dramatic performance of reconciliation. As Farlow illumines, God is an acting God who seeks fellow participants in his ongoing drama of salvation. Through the dramatizing of theology, the church and her theologians come to realize God’s threefold movement—revelation, invitation and reconciliation. It is a unified act that startles humanity, and thus theology, out of its “spectator’s seat,” so as to drag it onto the world’s stage. As Farlow discusses, it is through the dramatizing of theology that we find ourselves best equipped to participate faithfully in the role of a lifetime.