What her body taught (or, teaching about and with a disability): A conversation

Feminist Studies

Volumn 31, Issue 1, 2005, Pages 13-33

  Brueggemann, Brenda Jo ^a   Garland Thomson, Rosemarie ^a   Kleege, Georgina ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 18944385232     PISSN: 00463663     EISSN: None     Source Type: Journal    
DOI: 10.2307/20459005     Document Type: Review

References (6)

1. The FM system (or Frequency Modulated system) is a listening device that may be separate from, or also often adjoined to someone's hearing aid, that can help reduce the effective distance between the speaker and the hearing aid user while it also emphasizes one speaker/voice/noise at a time. Most movie theaters, for example, now carry FM systems that you can check out for use during a film. Working like specialized radio headphones, the FM system brings the speaker system more directly into the listener's ear (provided, however, that other patrons in the theater have their cell phones and other electronic devices, which often interfere with FM system reception, turned off). In aiding a hard-of-hearing student in the classroom, the teacher would wear the FM transmitter and a microphone in frequency with the student's hearing aid. The microphone is usually placed at chest level (about six inches away from the mouth) or at the level of the mouth (three inches from the mouth). In some situations a microphone may be used on a table as a conference microphone, allowing the FM user to hear voices all around a table. Some microphones also have a directional feature which lets the FM microphone "zoom in" on one specific speaker while it works to dampen a background of high noise. Directional microphones are often held by the FM user, who points the microphone toward the person who is talking.
2. Carrie Sandahl, an assistant professor at Florida State University's School of Theatre, is coeditor (with Philip Auslander) of Bodies in Commotion: Disability and Performance (Ann Arbor: University of Michigan Press, forthcoming 2005) and is drafting a book manuscript entitled, "Americans with Disabilities Act: Disability and Performance since the Civil Rights Era." She performed "The Reciprocal Gaze" as a day-long art/life installment at the University of Wisconsin-Madison, in 1993, and in Ann Arbor, Michigan, at the conference, "This-ability: Disability, Culture, and Art," in 1995.
3. Brenda J. Brueggemann, "An Enabling Pedagogy," in Disability Studies: Enabling the Humanities, ed. Sharon L. Snyder, Brenda Jo Brueggemann, and Rosemarie Garland-Thomson (New York: MLA Press, 2002), 317-26.
4. Erving Goffman, Stigma: Notes on the Management of a Spoiled Identity, a classic book in sociology, examines the processes surroundi ng and creating "stigma," the ways and means or how we classify others and are, in turn, classified by them. Goffman's theory of stigma management is, like all of his theories, one of interaction and relationships. The process of interactive classification around the management of our own (and others') "discredit" or stigma is what Goffman called "normalization. "
5. Harilyn Rousso is a disability advocate, activist, scholar, teacher, filmmaker, mentor, and artist. She is executive director of Disabilities Unlimited Consulting Services. A recent publication of hers is Strong, Proud Sisters: Girls and Young Women with Disabilities (Washington, DC: Center for Women Policy Studies, 2001). See, www.nwhp.org/tlp/biographies/rousso/rousso- bio.html.
6. See Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (Cambridge: Harvard University Press, 1992).