2017
DOI: 10.1177/1077800416684871
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Animating Disability Differently

Abstract: This article takes up Goodley’s challenge to explore the ways in which poststructuralist research methodologies open up new ways of thinking about encounters with disability. Working with the materiality of their own encounters with disability and the conceptual possibilities opened up in poststructuralist and new materialist thought, the six authors deconstruct the ability/disability binary through animating disability differently. They draw on memories generated in a collective biography workshop to explore … Show more

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Cited by 11 publications
(6 citation statements)
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References 29 publications
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“…Can the characteristics referred to by the categories not happen simultaneously? If so, would conceptualising this phenomenon as a spectrum take away or add to the analysis (for example, see the engagement with the categories ‘able’ vs. ‘disable’ by De Schauwer et al (2017))?…”
Section: A Methods For Problematising Categoriesmentioning
confidence: 99%
“…Can the characteristics referred to by the categories not happen simultaneously? If so, would conceptualising this phenomenon as a spectrum take away or add to the analysis (for example, see the engagement with the categories ‘able’ vs. ‘disable’ by De Schauwer et al (2017))?…”
Section: A Methods For Problematising Categoriesmentioning
confidence: 99%
“…Within the context of disability, heterotopias have been explored to open new deconstructions of ability/disability binaries (De Schauwer et al, 2017) and to disrupt conceptualisations of inclusion (Meininger, 2013). Beckett et al (2017) acknowledge the different forms heterotopian worlds may take, and conclude heterotopias are best described as sites of counter rationalities.…”
Section: International Journal Of Disability and Social Justice 31 Ap...mentioning
confidence: 99%
“…The woman learned to be in touch with her body by experiencing the energy of moving it, of seeing it as part of the assemblage she was forming with her dance partner, and eventually by consciously showing it, discarding her veto for a custom-made strapless dress after being gently pushed by the choreographer who was set to get her shoulders out and shine. The dress empowered her by accentuating the lines of her body and by showing the tattoo of the wind on her shoulder that had brought her closer to taking up ownership of her body (De Schauwer et al, 2017). It also expressed a femininity that rocks; a stylish, but sober feminine look very much in contrast with the carnivalesque masquerade of feathers and glitters worn by the dancers they were competing against.…”
Section: Entangledmentioning
confidence: 99%