This ground-breaking volume considers what it means to make claims of disability membership in view of the robust Disability Rights movement, the rich areas of academic inquiry into disability, increased philosophical attention to the nature and significance of disability, a vibrant disability culture and disability arts movement, and advances in biomedical science and technology. By focusing on the statement, "We are all disabled", the book explores the following questions: What are the philosophical, political, and practical implications of making this claim? What conceptions of disability underlie it? When, if ever, is this claim justified, and when or why might it be problematic or harmful? What are the implications of claiming "we are all disabled" amidst this global COVID-19 pandemic? These critical reflections on the boundaries of disability include perspectives from the humanities, social sciences, law, and the arts. In exploring the boundaries of disability, and the ways in which these lines are drawn theoretically, legally, medically, socially, and culturally, the authors in this volume challenge particular conceptions of disability, expand the meaning and significance of the term, and consider the implications of claiming disability as an identity. It will be of interest to a broad audience, including disability scholars, advocates and activists, philosophers and historians of disability, moral theorists, clinicians, legal scholars, and artists.

In a challenge to current thinking about cognitive impairment, this book explores what it means to treat people with intellectual disabilities in an ethical manner. Reassessing philosophical views of intellectual disability, Licia Carlson shows how we can affirm the dignity and worth of intellectually disabled people first by ending comparisons to nonhuman animals and then by confronting our fears and discomforts. Carlson presents the complex history of ideas about cognitive disability, the treatment of intellectually disabled people, and social and cultural reactions to them. Sensitive and clearly argued, this book offers new insights on recent trends in disability studies and philosophy.

This ground-breaking volume considers what it means to make claims of disability membership in view of the robust Disability Rights movement, the rich areas of academic inquiry into disability, increased philosophical attention to the nature and significance of disability, a vibrant disability culture and disability arts movement, and advances in biomedical science and technology. By focusing on the statement, "We are all disabled", the book explores the following questions: What are the philosophical, political, and practical implications of making this claim? What conceptions of disability underlie it? When, if ever, is this claim justified, and when or why might it be problematic or harmful? What are the implications of claiming "we are all disabled" amidst this global COVID-19 pandemic? These critical reflections on the boundaries of disability include perspectives from the humanities, social sciences, law, and the arts. In exploring the boundaries of disability, and the ways in which these lines are drawn theoretically, legally, medically, socially, and culturally, the authors in this volume challenge particular conceptions of disability, expand the meaning and significance of the term, and consider the implications of claiming disability as an identity. It will be of interest to a broad audience, including disability scholars, advocates and activists, philosophers and historians of disability, moral theorists, clinicians, legal scholars, and artists.

Shared Musical Lives makes the case for the epistemological and ethical significance of musical experience. Music can be a source of self-knowledge and self-expression, and hence reveal important dimensions of the self to others. This knowledge-of both self and of others-has a moral force as well. Shared musical experience can transform and establish new modes of being with others, cultivate virtues, and expand the moral imagination. The term sonification (which means translating data into non-verbal audible tones) provides an organizing principle for the arguments in the book. Transposing the concept into a philosophical key, this book explores two forms of sonification: first, the process by which musical experience reveals dimensions of the self and relationships with others; and second, philosophical sonification, or the critical examination of philosophical concepts, arguments, and theories in view of what musical experience reveals. These two kinds of sonification are discussed specifically in the context of disability. In this book, author Licia Carlson brings the musical lives of people with cognitive and intellectual disabilities into the foreground in order to challenge and broaden existing conceptions of disability and music and provide new ways of thinking about the philosophies of music and disability.

Phenomenology and the Arts develops the interplay between phenomenology as a historical movement and a descriptive method within Continental philosophy and the arts. Divided into five themes, the book explores first how the phenomenological method itself is a kind of artistic endeavor that mirrors what it approaches when it turns to describe paintings, dramas, literature, and music. From there, the book turns to an analysis and commentary on specific works of art within the visual arts, literature, music, and sculpture. Contributors analyze important historical figures in phenomenology-Kant, Hegel, Husserl, Heidegger, and Merleau-Ponty. But there is also a good deal of work on art itself-Warhol, Klee, jazz, and contemporary and renaissance artists and artworks. Edited by Peter R. Costello and Licia Carlson, this book will be of interest to students in philosophy, the arts, and the humanities in general, and scholars of phenomenology will notice incredibly rich, groundbreaking research that helps to resituate canonical figures in phenomenology with respect to what their works can be used to describe.

Phenomenology and the Arts develops the interplay between phenomenology as a historical movement and a descriptive method within Continental philosophy and the arts. Divided into five themes, the book explores first how the phenomenological method itself is a kind of artistic endeavor that mirrors what it approaches when it turns to describe paintings, dramas, literature, and music. From there, the book turns to an analysis and commentary on specific works of art within the visual arts, literature, music, and sculpture. Contributors analyze important historical figures in phenomenology-Kant, Hegel, Husserl, Heidegger, and Merleau-Ponty. But there is also a good deal of work on art itself-Warhol, Klee, jazz, and contemporary and renaissance artists and artworks. Edited by Peter R. Costello and Licia Carlson, this book will be of interest to students in philosophy, the arts, and the humanities in general, and scholars of phenomenology will notice incredibly rich, groundbreaking research that helps to resituate canonical figures in phenomenology with respect to what their works can be used to describe.

Teresa Carlson was diagnosed with breast cancer at age 29, as the young mother a 17-month-old daughter, in 1972--when treatments were devastating; chances of survival, grim; and the subject, taboo. By age 35, Carlson had survived two bouts and a double radical mastectomy, and wrote this inspirational memoir as both an act of catharsis and an invitation to break the destructive silence surrounding breast cancer. As Carlson observes, it is only when we acknowledge and share our suffering that we can begin to heal and move forward. More than three decades later, Carlson's story and sage strategies for coping with loss and facing mortality prove as timeless as the classic literature that is beautifully woven throughout these compelling pages. May her journey be your guide.