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The Routledge Companion to Art and Disability explores disability
in visual culture to uncover the ways in which bodily and cognitive
differences are articulated physically and theoretically, and to
demonstrate the ways in which disability is culturally constructed.
This companion is organized thematically and includes artists from
across historical periods and cultures in order to demonstrate the
ways in which disability is historically and culturally contingent.
The book engages with questions such as: How are people with
disabilities represented in art? How are notions of disability
articulated in relation to ideas of normality, hybridity, and
anomaly? How do artists use visual culture to affirm or subvert
notions of the normative body? Contributors consider the changing
role of disability in visual culture, the place of representations
in society, and the ways in which disability studies engages with
and critiques intersectional notions of gender, race, ethnicity,
class, and sexuality. This book will be particularly useful for
scholars in art history, disability studies, visual culture, and
museum studies.
This book examines the role of the visual and performing arts in
higher education and argues for the importance of socially engaged
transdisciplinary practices, not just to the college curriculum but
also to building an informed and engaged citizenry. The first
chapter defines and offers an outline for conducting
transdisciplinary research. Chapters two through five present
examples of transdisciplinary projects facilitated in Central
Florida between 2017 and 2022. Topics and methodological frameworks
include ecocriticism and climate change, migration, poverty, and
displacement, ageing and disability, and systemic racism and mass
incarceration. Each chapter includes descriptions of the projects
and outlines how they integrated the essential learning outcomes
articulated by the American Association of Colleges and
Universities in the Liberal Education and America’s Promise
report. A concluding chapter offers reflections on the value of
transdisciplinary collaborative work and poses questions for
further discussions on the role of the arts in higher education.
The book is designed for graduate and undergraduate students,
faculty, and non-academics interested in engaging in
transdisciplinary projects to address complex societal issues.
Faced with Eudora Welty's preference for the oblique in literary
performances, some have assumed that Welty was not concerned with
issues of race, or even that she was perhaps ambivalent toward
racism. This collection counters those assumptions as it examines
Welty's handling of race, the color line, and Jim Crow segregation
and sheds new light on her views about the patterns,
insensitivities, blindness, and atrocities of whiteness.
Contributors to this volume show that Welty addressed whiteness and
race in her earliest stories, her photography, and her first novel,
Delta Wedding. In subsequent work, including The Golden Apples, The
Optimist's Daughter, and her memoir, One Writer's Beginnings, she
made the color line and white privilege visible, revealing the
gaping distances between lives lived in shared space but separated
by social hierarchy and segregation. Even when black characters
hover in the margins of her fiction, they point readers toward
complex lives, and the black body is itself full of meaning in her
work. Several essays suggest that Welty represented race, like
gender and power, as a performance scripted by whiteness. Her black
characters in particular recognize whiteface and blackface as
performances, especially comical when white characters are unaware
of their role play. Eudora Welty, Whiteness, and Race also makes
clear that Welty recognized white material advantage and black
economic deprivation as part of a cycle of race and poverty in
America and that she connected this history to lives on either side
of the color line, to relationships across it, and to an uneasy
hierarchy of white classes within the presumed monolith of
whiteness. Contributors: Mae Miller Claxton, Susan V. Donaldson,
Julia Eichelberger, Sarah Ford, Jean C. Griffith, Rebecca Mark,
Suzanne Marrs, Donnie McMahand, David McWhirter, Harriet Pollack,
Keri Watson, Patricia Yaeger.
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